Semetabaj

7
RUINS OF SEMETABAJ, DEPT. SOLOLA, GUATEMALA
by
Edwin M. Shook, Marion P. Hatch, Jamie K. Donaldson
In memory of
Peter H. Mack, M. D.
Founder of the John Lloyd Stephens Foundation
The following archaeological report results from financial support provided

by the John Lloyd Stephens Foundation. The funds allocated by this Foundation permitted
the authors to spend three weeks in the field studying the ancient ruins of Semetabaj, its
immediate environs, and to excavate nine test pits strategically located throughout the
site. A further nine weeks of laboratory studies were required to wash, catalogue,
photograph, draw, and analyze the archaeological material recovered from the controlled
stratitests and from the uncontrolled collections. The latter include surface finds from
the site of Semetabaj and miscellaneous material accidentally discovered in the environs
during modern agricultural or construction activities.
The research at Semetabaj was due solely to the interest and stimulus of the
land owner, John E. Mack of Pasadena, California on whose property, Finca Santa
Marta (recently named Lomas del Lago Atitlan), are located the majority of the archaeological mounds of Semetabaj. Official permission for the archaeological investigations
at Smetabaj was granted by Dr. Luis Lujan MuiKoz, Director del Instituto de Antropologia
e Historia de Guatemala. We are deeply indebted to Mrs. Henry Lee Whitbeck and her
daughter Lucy Sturgill of Finca San Rafael, Guatemala City for their many kindnesses
and for providing us with a fully furnished, beautiful and comfortable house in the Colonia
Santa Marta which served as base camp and field laboratory during our three weeks stay
at Semetabaj. We also wish to thank Carolyn Hatch, Virginia B. Shook, Clive Carruthers,
and Father Carleton Sage for performing some of the indispensable but less exciting and
dirty chores associated with archaeological fieldwork. Sr. Otto Krings, the administrator
of the Colonia Santa Marta, gave us his full cooperation and his helpful advice was
invaluable in our dealings with the people of San Andres Semetabaj.
Note: Since this report was written, Sr. Otto Krings' workmen accidentally
discovered a major Preclassic tomb 65 m. opposite and in a straight line from Str. 4
and our Pit 2 (Fig. 1). The tomb is a subterranean chamber, cut into the natural talpetate
and underlying white pumice, having a tunnel entrance facing toward Str. 4. Reportedly
there are 27 whole vessels, skeletons of four individuals, placed on a red painted floor.
This important find, evidentally the oldest completely preserved chambered tomb yet
discovered in the Western Hemisphere, has been resealed awaiting excavations and study
by the authors in November 1978. A separate report will be published on the tomb and
its furniture.
To our knowledge the first published reference to the ruins of Semetabaj is a
brief statement by Lothrop (1933: 103, 104) who says: "This small town (San Andres
Semetabaj), the first encountered on the road from Panajachel to Godinez, stands perhaps
1000 ft. above the lake (Atitlan). On the southern edge of the town is the Finca Santa Marta,
property of don Eduardo Diaz. tmediately west of the main road where it crosses this
land there is a group of a dozen or more mounds, the largest (Str. 4) of which is about
30 feet high.
"Semetabaj mounds belong to a well-recognized type found in the highlands of

Guatemala, distinguished by the fact that they are constructed almost entirely of earth.
10
Agua Escondida, Chirijuyu and Chiche have similar structures. In each case the mounds
at these sites have been devoted to agriculture, with the result that the outlines have been
lost and today they are simply domes of earth. i Lothrop also astutely observed that
surface potsherds indicated that Semetabaj was settled fully as early as the Chukumuk I
period, the oldest occupation he encountered at Chukumuk across Lake Atitlan from
Semetabaj.
After Lothrop's publication in 1933 there have been brief visits to Semetabaj
by other archaeologists, including A. V. Kidder and E. M. Shook, during which time surface
pottery samples were collected (Lot E-10, deposited in the Museo Nacional de Arqueologia,
Guatemala), photographs taken, and a rough sketch map drawn (Shook, 1945, Field
Book #287, p. 3). The information gathered by Shook at the site and his study of the
pottery confirmed Lothrop's early dating of Semetabaj.
The presence of Sacatepequez White Paste White, Utatlan, Glossy Black-Brown

Wares and zone punctated decoration on jars indicated at least a Middle Preclassic
occupation. The material also showed that habitation continued in the Late Preclassic
and into the Classic period. Whether the Classic was Early, Late or both could not be
determined. The collections contained no ceramics of the Post-Classic period. The
majority of the archaeological material collected by Shook between 1942 and 1946 (Lot
E-10) came from a flat area just south and southeast of Str. 4 (Fig. 1). There the soil
and clay was being dug for use in manufacturing adobes, bricks, and roof tiles to supply
the local needs of the town of San Andres Semetabaj. As ancient potsherds, obsidian,
and other stone artifacts interfered with the puddling of the soil and clay, the workmen
would throw these objects to one side. Among these objects, other than potsherds, were
miniature vessels, one almost complete tripod bowl (Fig. 15e) and stone artifacts. The
latter included obsidian flake blades, spherical jade beads, manos and metates, perforated
"tdoughnut"t stones, a "mushroom" stone and a small vessel or cup (Fig. 5f).
Semetabaj, located in the Dept. of Solola on the high north rim of Lake Atitlan,
east of Panajachel, rests on an open tongue or bench of land sloping southwesterly from
a range of mountains that hem the northern horizon. The land drops off rapidly on the
west side of the bench from the 1970 m. elevation of the site, to the deep trough of the
Rio Panajachel 400 m. below. The east side of the bench Is less sharply defined, sloping
gently to the drainage of the Rio Pachib which with other tributaries entering from the
east swings around the south end of the Semetabaj bench. Here the stream, now called
the Rio Tzala, becomes sharply entrenched before it cascades into the Rio Panajachel
valley. The site location, 400 m. above Lake Atitlan, commands a spectacular view to
the south over the magnificent lake towards the volcanos Cerro de Oro, Toliman, Atitlan,
and San Pedro. To the north looms the rugged range of mountains forming the continental
divide. The elevation and the average mean temperature places Semetabaj in what
locally is called ??tierra fria" or cold land. It has, as much of the Guatemala Highlands,
a distinct dry and rainy season, each lasting approximately six months. The dry season
extends from November through April, the remainder of the year being the wet season.
However, even during the dry months, heavy moisture-laden clouds and fog often roll
11
over Semetabaj from the south across Lake Atitlan. The site, being open and exposed,
is subject to frequent strong winds, occasionally approaching hurricane force. Also
seismic disturbances are not uncommon. Many homes, public buildings, and the
recently built church of San Andres Semetabaj were destroyed in the February 1976
earthquakes. Previous ones, possibly the severe earthquakes of 1773, left the Spanish
colonial church a ruined shell of masonry.
The modern town of San Andres Semetabaj lies on the eastern periphery of the
ancient site with the town cemetery actually situated within the central archaeological
zone (Fig. 1, 13c). The modern community of approximately 1, 500 Inhabitants are largely
Cakchiquel Indians with the minority ladinos. The Maya language, Cakchiquel, is the
preferred tongue with Spanish spoken as a second language. Spanish is taught in the local
schools and is understood and spoken by most of the inhabitants. The largest number of
the people and those of the surrounding hamlets (aldeas) within the municipality of San
Andres Semetabaj are farmers with small land holdings. The principal crops are corn,
black beans, and wheat with minor plantings of fruits and vegetables. The town is noted
for corn, beans, and wheat which are produced in sufficient quantities to permit a surplus
to be sold as a cash crop. It appears quite probable that the availability of adequate soil
for the production of corn and beans, plus the ready supply of water were the basic
conditions for the ancient settlement of Semetabaj. Also, its position suggests that
ancient trade routes may have been another important asset. Trade routes during the
Spanish Colonial Period passed through San Andres Semetabaj, as do modern ones, and
these are important economically to the town.
fifteen archaeological mounds In Semetabaj (Fig. 1). All bear

evidence of disturbance to a greater or lesser degree from centuries of cultivation by
hoe or plow (Fig. 13b, c), cutting away for building material, excavations by treasure
hunters, or for access to the modern cemetery. Some mounds surely have disappeared
entirely because of these activities. The fifteen remaining mounds range from 1 m.
(Str. 15) to 9 m. in height (Str. 4). They are constructed essentially of earth with only
an occasional use of stone. The structure arrangement approximately depicted in the
rough sketch map (Fig. 1) does not conform to a standard or recognizable pattern. The
normal plaza or formal court arrangement appears to be absent. The larger structures,
4, 7, 11 and 12 are dispersed irregularly with smaller units scattered around and between
them. There is no evidence or suggestion of a ballcourt at the site of Semetabaj. It
should be re-stated that the map is simply a sketch, to show the approximate disposition
of the structures, and that until an accurate topographic plan Is made of Semetabaj, the
correct positioning of the units cannot be ascertained. The site is compact and oriented
generally on the axis of the natural bench of the land about Mag. N. 400 East.
Observable
are
The natural stratigraphy of Semetabaj consists of a thin 20-40 cm. surface

layer of dark brown soil, directly overlying a thicker bed, 50-100 cm. of hard, semisolidified yellowish-brown earth locally called talpetate. Below the talpetate occurs a
deep stratum of fine white volcanic pumiceous ash which is stained yellow or rust color
at the contact with the talpetate. This pumice or ash is known locally as tierra blanca or
arena blanca (white earth or sand).
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Natural stone of volcanic origin occurs at a considerable depth below the
talpetate and white ash deposits. It is exposed by erosion of the overburden in the deep
ravines nearby and especially on the precipitous slope to the Rio Panajachel west of the
site.
There are no human cultural remains found in the talpetate or the volcanic
ash. Pottery and stone artifacts are confined to the thin layer of surface soil unless man
at some time has quarried or dug intrusive pits into the talpetate and ash.
Our test pits and observations of the Semetabaj structures proved that the
builders had performed an incredible amount of earth moving. They cut down the natural
material, talpetate and white ash, to various depths over a considerable extent of the site.
The north-south slope of the natural terrain was cut at several intervals in terraces
stepping downward toward toward the south. Also, platforms of the sterile natural
material were left standing in relief. These served as foundation cores for individual
structures. In some examples the cores were built up vertically with additional material,
while in others, the cores were leveled, terraced and finished exteriorly as complete
structure units. Fig. 2a, b illustrate the construction technique utilized by the builders
of Semetabaj. The drawing is fairly accurate for the surface outline and position of the
natural central cores of Strs. 4 and 5. We have no Information on architectural details
such as the stairways, terraces, and exterior finish of the structures. The ancient
technique of artifacially lowering the surrounding terrain leaving elevated platforms of
sterile natural material in planned positions as foundation cores for individual platforms
and pyramids occurrs frequently in the Maya area. One dramatic example, demonstrating
this technique, is the great Southwest Group at Kaminaljuyu (Shook, 1941, Bk. 285, p.
15-17). There, in Preclassic times, two contiguous plazas, orientated north-south,
and the surrounding areas were excavated by the Maya to at least four meters depth.
They left in relief eleven platforms of natural talpetate and white volcanic pumice in
formal positions around the two plazas. These platforms served as interior cores for the
finished substructures which supported buildings and temples made of perishable material.
The same principal was utilized by the Maya in many sites in the northern
lowlands; Palenque, Piedras Negras, Yaxchilan, Uaxactun, Tikal, etc., where the
surface limestone or bedrock was cut down in a similar manner as the natural talpetate
and volcanic ash at Semetabaj and Kaminaljuyu.
The test pits excavated by us were confined to the lands pertaining to Finca
Santa Marta which fortunately include most of the ruins of Semetabaj. Structures not on
land of the finca are Nos. 2, 3, 5, 6, 11 and the area of the modern cemetery. Surface
inspections and collections, however, could be made throughout the site. One greatly
destroyed mound, Str. 6, provided the largest sample from its fill and surface of the
earliest material, Middle and Late Preclassic, recovered at Semetabaj. The location of
our controlled 2 x 2 m. stratitests are shown in Fig. 1. All, except Pit 9, produced
deep stratigraphy and some structural data. Pit 9, nearest to the modern town, proved
to be in an area recently disturbed for adobe-making, a fact not apparent from the
appearance of the surface before excavations.
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Pits 1, 2, 3, dug at the center base of the south, west, and north sides of
Str. 4, passed through the surface accumulation of eroded soil washed off Str. 4 after
its abandonment. Below this in Pits 1 and 2, (Fig. 3a, b), was encountered fill of a
Preclassic construction added to the exterior base of Str. 4. This fill had deeply buried
the lowest and earliest plaza floors surrounding Str. 4.
Pit 3 did not conform to the building sequence found in Pits 1 and 2. Instead,
after penetrating the surface deposit of eroded material from the north face of Str. 4, we
encountered an irregular level of dark brown soil (Fig. 3c). This level probably represents
the remnants of the latest plaza floor. Below it was fill, containing Early Classic sherds,
which extended to the natural sterile white volcanic ash. Even assuming the original
Preclassic plaza floor or floors on the north side had been completely removed by Early
Classic activities, the level of the natural ash Is still 1 to 1. 5 mts. higher than the
artificially built plaza floors on the west and south sides. Therefore, some means of
access would have been required to reach from the higher level on the north to the lower
floors on the west and south sides. We believe this was accomplished by a terrace wall
extending east and west from the N. E. and N. W. corners of Str. 4. The Preclassic
construction fill observed in Pits 1 and 2 appears to be the addition which raised the
general level around the base of Str. 4 to that of the north side.
The location of Pit 4, in the open area north of the modern cemetery and
just east of a road and water pipeline, was selected because workmen in digging the trench
for the pipeline recently had encountered an unusual amount of broken pottery and stone
artifacts. This evidence suggested the possibility of our finding a deposit of wellstratified remains. The stratitest produced an abundance of potsherds, stone artifacts
and charcoal for a depth of just over 2 m., even though vertical stratigraphy was imperfect.
This condition was due to several intrusive and overlapping ancient pits, each with
rubbish between an upper and lower strata of black soil which appeared to have been old
plaza surfaces (fig. 3d). Below the lower plaza floor stratum, the dark, medium to light
brown soil overlying white ash produced no pottery, charcoal, or stone artifacts.
Pit 5 was sunk through the top center of Str. 9, a low sprawling mound
considerably cut down and spread by modern hoe and plow cultivation. Here, once the
churned surface 20 cm. layer had been removed, the entire test to 3 m. depth was
through sherd-bearing strata (Fig. 4a). Again, a layer of homogeneous black soil,
suggesting an old ground surface, was encountered 1. 90 m. below the top of Str. 9.
The stratum is comparable to the two similar layers in Pit 4 but its level is 1.40 m.
higher than the upper one in that pit. Below the black soil in Pit 5, sherds continue in a
decreasing amount for another meter in depth.
Pit 6, the most northerly area of Semetabaj tested, was excavated on the
central axis and at the south base of Str. 13. The principal features consisted of an
upper 1. 8 m. of artificially laid plaza fill covering a well-tamped, level, and smoothed
plaza floor of dark brown soil (Fig. 4b). Below the plaza floor the fill lacked pottery
but contained scattered tiny lumps of charcoal for another 60 cms. , then sterile soil.
14
Str. 11, a fairly long, steep-sided substructure (Fig. 1) suggests, by its size
and position In the assemblage of Semetabaj structures, that it may have been of considerable
importance. The former owner of Finca Santa Marta, Sr. Eduardo Diaz, had workmen
dig a narrow longitudinal trench from west to east into the heart of Str. 11. This trench,
dug sometime between 1937 and 1942, was made In search of treasure. Today, the sides
of the trench have partly caved in and large pine trees grow in and around the trench edges.
We removed the scrub growth, leaving the full grown trees, searched the back dirt and
collapsed fill for ceramics and artifacts, and cleaned a section of the side walls to observe
the type of construction fill. A variety of fill had been used including tough brown clay,
talpetate and white ash. Also, remnants of several earth floors indicated that Str. 11
had two or more building phases.
Pit 7, on the north-south axis and at the south base of Str. 11, first penetrated
the shallow surface talus from the mound (Fig. 4c). Below the churned 20 cm. surface
stratum was a deep, over 2.2 mi., mixed fill representing a major building stage of
raising the court or plaza level south of Str. 11. This thick fill overlay an earlier plaza
floor of dark brown earth which sealed another thick deposit of hard-packed brown and
light brown soil containing cultural material for at least 1. 8 m. below the brown earth
floor. Sterile yellowish soil finally was reached at a total of 4. 0 m. depth below the
present surface.
Pit 8 was dug from the top center of the small, low, plowed-down Str. 8
located in approximately the north-south center of the site (Fig. 4d). The top surface
20 cm. of earth, extensively churned by hoe cultivation, represented the latest building
stage of Str. 8. Once removed, we discovered a flagstone paving which served as a base
for an earth floor covering the platform top of an earlier phase of Str. 8. The stone
paving effectively capped and sealed a contemporaneous, 1. 7 m. thick fill. Below this lay
buried two earlier structures, one superimposed over the other representing the oldest
building units exposed in Pit 8. Both of these early platforms had been built of an adobe,
puddled and thickly mixed with grass, applied wet and solidly tamped. Once dry the fill
became exceedingly tough and hard. The grass admixture eventually rotted, leaving clear,
rust-colored casts of the grass blades and stems. Each platform had at one time supported
a perishable building, perhaps a shrine or temple, its thatch roof supported by large
wood posts. Both buildings eventually had burned, accidentally or purposely fired,
leaving evidence of this by the quantity of clean charcoal and burned adobe within the post
holes and the fired brick consistency of the adobe floor around the post holes. Sometime
during the use of the second or later platform, a large pit had been dug into the southeast
portion of the platform. We encountered the intrusive pit in the edge of the test cut and
cleared as much of the old pit as could be reached. The pit had been re-filled with many
heavily burned stones from fist to brick-size, burned lumps of adobe, charcoal, ashes and
soft brown earth. Our expectations of discovering the first human burial or cache of
pottery and jades at Semetabaj received a brutal jolt when after careful excavation our
efforts were rewarded by only a few potsherds. Disappointed over the lack of a cache or
burial, we then entertained the thought that the evidence might indicate a Preclassic sweatbath, that the pole and thatch building which had burned down may have served as a
15
ceremonial sweat-house. It remains a possibility that the heavily burned stone and adobe
lumps, the ashes and the charcoal in the pit may be the discarded debris from fires used
in heating a sweatbath.
Pit 9, as earlier mentioned, turned out to be a dud. The location (Fig. 1), in
an open level area half-way between Strs. 6 and 7, was selected as the only testing on the
eastern periphery of the site and nearest to the modern town. The top meter of soil in the
pit overlay natural talpetate and had been churned and disturbed recently by the villagers
making adobe blocks for house construction.
In summary, the nine pits and the examination of Str. 11 and other partly
destroyed mounds of Semetabaj provided ceramic stratigraphy, a repertoire of stone
artifacts, data on architectural practices and importantly the time span of the principal
occupation of the archaeological site.
Working backward in time, today and during the past 450 years since the
Spanish Conquest and for an uncertain number of centuries prior to the Conquest, the
area and environs of Semetabaj have been occupied by the Cakchiquel speaking Maya. With
this historical knowledge, it is difficult to understand why we found no archaeological
evidence of this Cakchiquel occupation, particularly material of the Late Post-Classic
period dating approximately from 1200 to 1525 A.D. Material of the proto-historic time
span has characteristic and easily recognized ceramic types which are widely distributed
throughout the Southern Highlands of Guatemala. Yet our reconnaissance of Semetabaj
produced no Late Post-Classic ceramics. We believe nevertheless, that a more intensive
archaeological study of the region of San Andres Semetabaj would uncover evidence of the
proto-historic Cakchiquel occupation.
We did record a few scattered finds in the area dating from the Early PostClassic Period (900-1200 A. D.). Also, a single sherd of Tohil plumbate pottery came
from the surface level in Pit 1, Lot S-11 and another plumbate sherd from the disturbed
soil in Pit 9. These few Early Post-Classic ceramic specimens suggest that the Semetabaj
region sustained a thinly distributed population, perhaps only farmers, with virtually no
use of the archaeological site.
Equally incomprehensible is the total absence of any evidence of habitation at

Semetabaj or the immediate surroundings during the Late Classic Period from 550 to
900 A.D. Elsewhere in Guatemala and neighboring regions, the Maya were enjoying their
greatest cultural attainments in science, art, architecture, as well as in political and
social organization. Population, particularly in the adjacent South Coast area, reached a
density in the Late Classic unequaled before or in later Pre-Conquest times. Yet,
Semetabaj with its cool climate, productive soil, excellent water supply, and its
spectacular natural setting overlooking Lake Atitlan, according to present evidence, was
void of human population during the Late Classic Period.
This seemingly unique condition also existed during the upper half of the Early
16
Classic Period from approximately 400 to 550 A. D. We found no remains of that time
span which is termed the Esperanza Phase in Kaminaljuyu when that great center
received such a wealth of cultural traits from distant Teotihuacan in the Valley of Mexico.
The archaeological evidence gathered by our excavations and reconnaissance
of Semetabaj clearly demonstrates that the ancient city was abandoned as a functioning
entity around 400 A. D. From that date forward the city fell into a ruined state of eroded
earth mounds and remained basically the same in appearance as it does today.
The early half of the Early Classic Period, from 200 to 400 A. D., witnesses
a vigorous community living and functioning in Semetabaj. Remains of this habitation
occurred in the upper levels of all the test pits and on the site surface. The ceramics,
obsidian, and other stone artifacts demonstrate that trade flourished with selective
regional and distant places. The area of trade extended to the Quezaltenango-Salcaja
Valley to the west; to the far northwest state of Hidalgo, north of Mexico City, for green
obsidian; to central Quiche and Peten Lowlands on the north; and to Kaminaljuyu in the
Valley of Guatemala on the east. Indications were rather sparse of trade with the very
near region of the Pacific Coastal Plain. Why so little trade by the people of Semetabaj
with their thriving neighbors on the South Coast? Did warfare, feuds, or some political
or ethnic animosity exist between the people of Semetabaj and those of the South Coast
during 200-400 A. D. period? As our evidence and interpretations are based largely on
the presence and absence of recognizable ceramic wares, another interpretation may be
advanced that the Semetabaj people were fully self-sufficient and satisfied with their own
pottery and ceramics produced by other nearby Highland centers, that trade with the
South Coast consisted of perishable tropical food products, salt, dried fish, cotton, etc.
rather than in hard goods. It might be noted that in Monte Alto on the South Coast certain
Highland products were found such as specific ceramic types, obsidian, jade, etc. which
dated within the same time range of the Early Classic.
Proceeding backward in time, archaeological material dating from the Protoclassic or a late phase of the Late Preclassic Period about 100 to 200 A. D. was discovered
near a water source called Xecotoj, 500 m. north of Semetabaj (Fig. 1). The material
came from the surface soil to 1 m. depth in an uncontrolled excavation by local workmen
while extracting clay for brick-making. The ancient material included an adult human
skeleton with a pair of jade earplugs, stone artifacts, sherds and restorable pottery
vessels. Among the stone artifacts there were fragments of metates and manos, a
"doughnut" stone, and obsidian flake blades. The ceramics consisted of types not
encountered or recognized in the stratitests at Semetabaj. However, the proximity of
Xecotoj indicates that a settled population existed in the general area, if not on the site
of Semetabaj, during the Late Preclassic Period. The time range represented is
approximately that of the Santa Clara Phase at Kaminaljuyu.
Also noticeably slim was evidence at Semetabaj and the immediate environs
of ceramics equivalent to the important Late Preclassic Arenal Phase of Kaminaljuyu
which may date as late as 100 B. C. to 100 A. D. The Arenal phase represented a time
17
of widespread trade and perhaps the cultural peak of the Preclassic at the major site of
Kaminaljuyu. The very small amount of material representing this time span in
Semetabaj as well as in the general Lake Atitlan region strikingly emphasises the woeful
state of our knowledge of Maya cultural history not only of this important lake region but
of most of the Southern Highlands of Guatemala.
The presence of Late Preclassic Miraflores Phase ceramics, questionably

dated from 300 to 100 B. C., and ample evidence of Middle Preclassic pottery permit us
to interpret more firmly the story of Semetabaj. Toward the end of the Middle Preclassic
Period, estimated to date from 500 to 300 B. C., presumably a Maya speaking people
moved into the area and established Semetabaj as the largest ancient city known today in
the region of Lake Atitlan. Perhaps the favorable environs with permanent water sources
and good soil for the production of corn, beans, avocados and other high altitude food
crops led to the development of such a center. It is certain that these culturally advanced
people had a highly developed social organization with the manpower to undertake a huge
public operation of earth moving and the building of major substructures. They selected
the sloping bench of land overlooking the spectacular Lake Atitlan, laid out a city, terraced
the land for courts and plazas, and erected platforms and pyramids to support temples,
palaces and public buildings made of wood, mud and thatch. The remains of these earth
substructures of the ancient city essentially are the same in plan and size as seen today,
Fig. 4. We assume that the majority of the populace lived close in and around the public
edifices in houses built of wood posts, walls of poles daubed with mud or adobe, and
roofed with grass thatch. This type of wattle and daub construction, examples of which
were recovered in our excavations, served admirably as protection against destructive
earthquakes as well as from the cold temperatures and occasional wind storms of
the Highlands.
Semetabaj as a flourishing community in Middle Preclassic times carried on

the
surrounding regions in the Southern Highlands and South Coast of Guatemala.
trade with
Some imports found in Semetabaj were jade, obsidian and pottery. The latter included
Glossy Black and Glossy Orange wares from the west and northwest, Utatlan Ware from
Central Quiche to the north, Sacatepequez White Paste White Ware from the east and
Usulutan pottery from the South. From Middle Preclassic trade material present in
Semetabaj, one might postulate peaceful relations with surrounding communities and the
general well-being and prosperity of the local inhabitants. These conditions for unknown
reasons apparently changed after about 200 B. C. and only returned once again in the life
span of Semetabaj during the brief 200 to 400 A. D. period of the Early Classic.
Prior to the influx of the vigorous Middle Preclassic people around 500 B. C.
only occasional ceramic evidence was found in Semetabaj of an earlier population. This
evidence consisted of a few sherds identified as Ocos types of Early Preclassic times.
The pottery indicates at least an occupation of the area perhaps as early as 1000 B. C.
even though we do not accredit these early pioneers as the builders of Semetabaj.
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Archaeological material recovered:

Artifacts:
1. Perishable material:
a. Avocado seeds. Carbonized seeds of avocado (Persea Americana)
from
the
Preclassic fill below the plaza floor in Pit 7, Lot S-171. Burned
came
avocado seeds previously have been discovered in Middle Preclassic rubbish-filled pits
at Kaminaljuyu in the Guatemala Valley and Zacat in the Dept. of Sacatepequez (Shook
1948: 65a).
b. Grass. Casts of decomposed grass blades and stems were
common in the adobe fill of two Preclassic structures in Pit 8 (Fig. 14a, 20s).
c. Wood. Carbon from burned wooden main posts of two buildings
was recovered from the post holes in Preclassic levels of Pit 8. The wood posts, 25 and
28 cm. in diameter, had been sunk 68 cm. into the adobe supporting platforms. Often
casts of small, 2-3 cm. diameter, wood poles preserved in burned adobe fragments
appeared in the fill of the test pits. These indicate that wattle and daub wall construction
was common in Semetabaj. Wood charcoal also occurred in concentrated batches or in
scattered fragments in all test pits. Samples were obtained from Pits 2, 4, 5, 6, 7 and 8.
2. Stone:
a. Sculpture. One fragment of a pedestal-based sculpture (Fig. 14b),
was recovered from Level i, in Pit 4. The fragment bore traces of an all-over red pigment. These normally pertain to Middle and Late Preclassic Periods in the Southern
Highlands and South Coast of Guatemala (Shook 1970: 73-74).
b. Jade.
1. Beads, pendants and earplug flares. We recovered no jade
ornaments in our excavations. However, our local workmen assured us that ear flares,
small pendants and beads, particularly spherical ones, were found frequently during
cultivation of the soil. We were shown several jade earplug flares and plain, spherical
beads. One workman, Carlos Garcia, discovered a burial with a pair of jade earplug
flares at a Late Preclassic habitation site of Xecotoj, on the north fringe of Semetabaj.
The human bones were carefully collected in a box and re-buried in the modern cemetery.
The jade flares were sold in Panajachel.
2. Celts. One fragment came from the surface (Lot E-10)

and
we
were
shown several complete jade and greenstone celts by the local
(Fig. 14c)
people. They invariably associate celts with thunder and lightening, believing that celts
and obsidian flake blades were hurled to earth by bolts of lightening.
c. Obsidian.
1. Flake blades and cores (Fig. 14d, e). These unaltered,
primary flake-blades were the most prevalent artifacts in all test pits, and on the surface
at Semetabaj. Few were complete. Those and fragments of flake-blades totaled 609 from
19
all excavations. Most were short and rather wide in proportion to their length (range 7 to
9 cm. length, 1. 7 to 3. 4 cm. width) often broadening toward the butt or striking platform.
The presence of obsidian cores in Semetabaj indicates that blade-flaking was done locally.
One expended core measured 4.7 cm. and another 9 cm. in length. 91% of the obsidian
appears to be of the same dark veined type which has a characteristic pebbled, rippled,
or grained surface. This grainy surface does not have the high, mirror-like reflection
of other obsidians. It has the characteristic color and surface of obsidian f rom the San
Martin Jilotepeque source in the Dept. of Chimaltenango. Geographically, San Martin
Jilotepeque is the closest known obsidian source to Semetabaj. Other flake blades, 7. 5%
of the total, are slender, thinner and more delicate (Fig. 14h) of light smokey black
obsidian with a clean, glassy surface. Among the 609 fragments there were 46 of this
type obsidian whose source might be Chayal, just N. E. of Guatemala City. No cores of
this type of obsidian were recovered in our Semetabaj excavations. Most surprising to
us were 9 fragments (1. 5% of the total) of dark green obsidian (Fig. 14g) which were
imports evidently from as far off as Cerro de Navajas, Hidalgo, just north of the Valley
of Mexico. All nine fragments of the green obsidian came from the upper levels in Pits
3, 5, 7 and 8 or the beginning of the Early Classic in Semetabaj.
2. Scrapers. Among the numerous unaltered chips of obsidian
which may be the wastage from local flake-blade manufacture, were some surely used
as scraping tools. A few scrapers have re-touched edges (Fig. 14f). These were of the
predominent grainy type of obsidian. All specimens recovered in our excavations may be
dated from Middle Preclassic to the early half of Early Classic, although they could not be
separated typologically within that time span.
d. Metates and Manos. A few fragments of metates and manos came

from the test pits, and others from the surface and immediate environs of Semetabaj.
Two types of metate were present. One, a simple, elongated trough-type without supports,
shows a minimum pecking of the original volcanic lava stone. A small, short, slightly
round-ended rectangular mano which wears a lengthwide groove in the grinding stone
probably belongs to the trough metate. This type of metate is typical of those found
associated with Preclassic remains throughout the Southern Highlands and South Coast of
Guatemala. The second metate type shows somewhat more shaping into a rectangular
thick slab of lava stone and bears two low, flattish rounded legs at one end (Fig. 14i).
The two-legged metate may be a local innovation toward the end of the Preclassic or a
new type introduced in the first half of the Early Classic Period. One example of the twolegged metate was discovered with an Early Classic burial in the Tiquisate area of the
South Coast (Shook 1965: Fig. 20). No recognizable examples of three-legged metates
were found in Semetabaj comparable to those of the Early Classic Esperanza Phase in
Kaminaljuyu (Kidder, Jennings, and Shook 1946: Fig. 158). The stone grinder or mano
was common at Semetabaj. Most were small, short, ovoid in section, with blunt rounded
ends suitable for the trough type metates. Another was a rounded loaf-shaped stone
(Figs. Sb, 141) which may have been used for grinding or as an anvil stone.
e. Mortars and Pestles. A thin stone slab and a re-used metate
showing a worn circular depression on the grinding surface was found in Pit 7 (Fig. 14k).
20
Another mortar came from the Late Preclassic deposit at Xecotoj and shows depressions
on the upper and lower surfaces (Fig. 5c, 14j), resulting from grinding with a pestle or
small round stone. One round, flattish, loaf-shaped stone (Fig. 14m), may have served
in some way as a pestle, mano, or grinder. These few examples of mortars and pestles
likely served to grind paint pigments and certain foods.
f. Perforated "doughnut" stones. These artifacts, common in the

Southern Highlands and South Coast (Shook 1940: 14, 2021), apparently make their first
appearance in the Santa Clara Phase (Late Preclassic) in Kaminaljuyu, and reach their
greatest popularity during the Classic Period. The present consensus of opinion favors
the use of these stones as weights for the planting or digging stick exactly as they are
used on digging sticks in modern agriculture in Eastern Africa from Abyssinia to South
Africa (Clarke 1944). In that area, the shape, weight, and size of the perforated stones
are the same as the archaeological "doughnut" stones of Southern Mesoamerica. Also,
the latter stones differ basically in size and weight, being larger and heavier, from the
smaller artistically wrought and finely finished mace or war-club heads of Costa Rica,
Panama, Colombia, and the Andean area of South America. We also eliminate from
consideration because of their form, design, and symmetry, the oft-repeated opinion
that the perforated "doughnut" stones of Southern Mesoamerica were used as door hinges.
Typically they are not conically, but biconically perforated, subspherical in shape, and
when decorated the design most frequently continues from top to bottom (Fig. 5d, e;
15a-d). Weights in pounds of seven complete perforated stones taken at random from the
Guatemala Highlands and South Coast gave 3. 5, 3. 5, 3. 5, 3. 5, 3. 5, 5.0, 5. 5 demonstrating
very consistent weights. Maximum diameters range from 10 to 16 cm. The Semetabaj
specimens came mostly from the uncontrolled surface collections but fragments of two
were found in our excavations, one in Level k of Pit 5 and the second in Level 1 of Pit 7.
Both of these were associated with levels which divided the Preclassic from Early Classic
deposits. We believe these two examples and the surface specimens pertain to the latest
occupation of the Preclassic or Protoclassic and the first part of the Early Classic Period.
g. "Mushroom" stones. One plain, tripod mushroom stone was
collected (Lot E-10) from the brick-yard diggings south of Md. 4. The re-shaped and
re-used head of a second "mushroom" stone (Fig. 5a) was found on the surface at the
east base of Str. 4. Both of these, Lot E-10, are unassignable chronologically.
h. Miscellaneous. One small heavy-walled vessel or cup (Lot E-10,

Fig. 5f) was cut from a fine-grained laminated light cream-white stone. The date is
probably Preclassic.
3. Mica: Thin sheets of mica lay scattered among charcoal bits and obsidian
flake blades on the earth floor of Pit 6, Level i. Other small mica pieces occurred in
the Preclassic fill of Pit 2.
4. Paints: In Pit 7, Level b, were a number of fragments of an adobe floor
or terrace facing. All of these fragments had one smoothed surface painted a dark red,
21
suggesting that a structure, terrace wall, or a plaza floor had been solidly painted red.
Also, the pedestal sculpture (Fig. 14b) from Pit 4 had been painted red.
5. Bone: Several examples of animal and bird bone were found in random
fill of Pits 3, 5, and 7. No human bones were recovered. The bones from Pit 3 were
those of a large, complete rodent lying in an animal burrow and could be of a recent
date. The few bones scattered through and contemporaneous with the fill of Pits 5 and 7
were bird bones.
6. Pottery:
Introduction
A total of 5697 pottery sherds was recovered from the excavations at
Semetabaj in the 1978 field season and were sorted and analyzed in the Shook Laboratory,
Antigua, Guatemala. Of these, 1366 sherds are recognized as Preclassic wares, the
rest being almost entirely Early Classic (Fig. 5g). The Late Classic period is not
represented in the sample. There are two Postclassic Tohil Plumbate sherds, and a
few Colonial or modern examples, these coming from the surface and upper levels of the
excavations.
The Preclassic ceramics include some Early Preclassic sherds, but the
greatest amount can be assigned to the Sacatepequez (and of Middle Preclassic) and
Miraflores (beginning of Late Preclassic) phases, indicating a substantial occupation and
construction activity during this time. There is a scant amount of material from the
latter part of the Late Preclassic. The beginning of the Early Classic (Aurora phase)
is accompanied by a change in ceramic wares and an immense new building operation
which was superimposed on the Preclassic floor levels. The site was apparently
abandoned after the Aurora phase.
It is not yet clear to us whether the earliest major construction at Semetabaj
is associated with the Sacatepequez or with the Miraflores phase, although we suspect it
is the former. This uncertainty is due to our lack of control over the two major Preclassic
wares at the site, Semetabaj Brown Ware and Glossy Orange Ware. Semetabaj Brown is
a local ware, probably manufactured locally or in a nearby area. It is not a recognized
trade ware in the Guatemala Highlands and therefore its stylistic development relative
to that of better known wares is not established. Glossy Orange, on the other hand, is
a very familiar r reclassic trade ware in the department of Quiche and Quezaltenango,
probably beginning in Middle Preclassic times and continuing through the Late Preclassic.
However, a definitive study of this ware in the Guatemala Highlands has not yet been done,
so that we do not know the evolution of the forms and decoration which are specific to the
earlier or later parts of the sequence. At Semetabaj good Sacatepequez phase diagnostic
types occur in association with Semetabaj Brown and Glossy Orange, such as Sacatepequez
White Paste White Ware and Utatlan Ware. A good Miraflores diagnostic, Kaminaljuyu
Fine-Incised Black-Brown Ware, is also present. However, all this cultural material
occurs above the floor levels (which rest on sterile soil), implying a date later than the
22
floor itself, but how much later cannot be determined at the present time.
It Is certain that the major Preclassic construction is no later than the Miraflores
phase because the Arenal and Santa Clara phases are barely represented in the material
from the excavations. For instance, a major Arenal diagnostic at Kaminaljuyu, a coarseincised Buff "flowerpot", is absent in the Semetabaj sample. Protoclassic forms, such
as tetrapods with large swollen mammiform vessel supports, are represented by a few
sherds only. The Santa Clara (Protoclassic) phase is best represented by a collection of
vessels and sherds from a burial at nearby Xecotoj along the fringe area of the site (500
mts. distant), indicating that there was some occupation in the vicinity during that time.
The lack of a well-developed Arenal phase at Semetabaj makes it impossible
to specify what relationships there may be, if any, between the Preclassic and Early
Classic occupations. The absence of any sterile deposit between the two major construction
periods suggests that no hiatus occurred in the occupation sequence. The most common
Early Classic Ware at the site (Fig. 5g) is Santa Marta Brown Ware, a utilitarian pottery
probably manufactured locally or in the vicinity. We suspect that Santa Marta Brown jars
may be derived from Semetabaj Brown jars because both share lip to shoulder strap
handles and punctate decoration; however, this may be no more than a shared tradition.
Without being able to follow the development of Semetabaj Brown Ware through the Arenal
phase there is no way to identify a generic relationship between the two. Second in frequency
at the site during the Early Classic is Esperanza Flesh Ware, probably imported from
the department of Chimaltenango. It is accompanied in popularity by Streaky Brown Ware,
a local product already present in Protoclassic times, but which apparently began to
imitate Esperanza Flesh Ware when this ware was introduced into the area.
The Early Classic period at Semetabaj witnesses a new vigour in construction

activity, a sudden increase in sherd quantity, and a ceramic inventory which reflects an
abrupt shift in trade orientation. Whether this is due to a new population at the site, or
to a new social order bringing in altered trade relationships is not known. During the
Preclassic phases the major imported wares are Glossy Orange and Glossy Black, both
probably from the department of Quiche to the north, and Quezaltenango to the west. A
minor quantity of Miraflores Black-Brown Fine-Incised Ware undoubtedly came in from
Kaminaljuyu, and White Paste White Ware from the department of Sacatepequez. The
major trade orientation in ceramics during Preclassic times was thus to the north and
west, with less to the east of the site. In contrast, during Early Classic times, the
abundance of Esperanza Flesh Ware imported from the department of Chimaltenango shows
a trade orientation primarily to the east. The fact that this pottery style is imitated in
Streaky Brown Ware suggests that the import had some Intrinsic value or prestigious
quality for the inhabitants. There is a weaker trade relationship to the north. Possibly
Mahogany Brown Ware has northern ties as it appears to be related to styles common in
Late Classic times in the department of Quiche.
The Protoclassic burial Xecotoj lot may express an interim set of trade relationships. Ih some respects it contrasts with, and in others it ties together the ceramics
23
of the Preclassic and Early Classic periods. Included in the collection are a number of
Glossy Orange tetrapods, a ware lingering from the Preclassic but exhibiting new forms;
the ware does not survive after the Protoclassic. Also represented is Streaky Brown
Ware, not seen in earlier phases but common during the Early Classic. Other unrelated
vessels in the lot show style affinities with wares familiar at the site of Monte Alto,
department of Escuintla on the South Coast of Guatemala. The collection may possibly
reflect a period of reorganization and realignments, but it is risky at this time to draw
conclusions on the basis of the one burial lot.
Semetabaj was abandoned at the beginning of the Esperanza Phase of the Early
Classic period. There appears to be no major occupation after that time, although the
modern town of San Andres Semetabaj undoubtedly carries on an occupation that was in
existence during the Conquest. At the present time San Andres Semetabaj serves as a
redistribution center for dried fish and vegetables coming up from Lake Atitlan in exchange
for maize and beans from the Tecpan-Chimaltenango valleys. The town and site of
Semetabaj are in an excellent location for this exchange of produce between the two contrasting ecological zones, and the economic base may be an ancient one. It is interesting
that the distribution of modern Cakchiquel speakers is similar to the trade bond reflected
ceramically in Early Classic times between Semetabaj and the department of Chimaltenango. Why Semetabaj ceased to function as a central place, what the generic ties are
to earlier and later sites, and what brought about the changes reflected in the ceramic
sequence are problems for future research.
Apparently the same range of pottery that we found at Semetabaj has also
been recovered from the surface of the ruins of Aguas Escondidas. This site is located
east of Lake Atitlan in an elevated plain comparable to Semetabaj (Lothrop 1933: 105).
Preclassic Ceramic Wares
Early Preclassic
Semetabaj Brown
Glossy Orange
Glossy Black
Polished Black-Brown Fine
Utatlan
Fine Red
Purple on Fine Red
Sacatepequez White Paste White
Sacatepequez-Providencia Red
Sacatepequez Red on Unpolished Buff
Orange Slipped
Preclassic Red Paste
Scored Censor Covers
24
Early Preclassic Wares

Total: 15 sherds
% of Preclassic Total: 1. 0%
% of Site Total: . 26%
Discussion: A few sherds from tie Semetabaj excavations are recognized as
Early Preclassic wares known from other sites of the Highlands and South Coast of
Guatemala, and undoubtedly came into the site as trade wares. These examples came
from all levels, apparently being mixed with later types in the construction activity.
Paste: In most cases the texture is medium-fine and is hard-fired; color is
light brown at the edges with a thick light gray core. In others the paste is medium
textured with sandy inclusions, and the color is yellowish-brown to pinkish-brown.
A. Vessel Form: Curved wall bowls with direct rounded rim. The bowl
has an all-over burnish cream slip with a band of red paint from the edge of the rim down
1.5 cm. on the exterior, and there is evidence of red painted decoration on the wall
below (Fig. 17m). (Cuadros or Jocotal Phase?)
Total: 1 rim, 1 body

B. Vessel Form: Curved wall bowls with "club head" rim. The rim on
these bowls spreads out to a wider diameter than the wall thickness. The flat surface of
the rim slopes downward slightly from the rounded exterior lip to the sharp interior lip;
it bears a deep, narrow, encircling groove. The outer lip is decorated with continuous
tool-indentations. (Ocos Phase?)
Total: 1 rim
C. Vessel Form: Tecomates. From the globular body the wall thickens
towards a direct flat rim with sharp upper and lower lip. The exterior bears an all-over
(?) thin orange slip, and a finely incised line encircles the wall 1 cm. below the orifice.
(Early Preclassic)
Total: 1 rim
D. Vessel Form: Thin-walled tecomates (Fig. 171).
ranges from .5 to .8 cm.; the body is globular to a direct sharp
the lower surface. There is a burnished red slip from the lower
the wall exterior. A finely incised line encircles the exterior .5
and there is a second line 2. 5 cm. below it. (Ocos Phase)
The wall thickness

rim which is beveled on
edge of the rim over
cm. below the orifice
25
E. Vessel Form: Low-necked jars. From a globular body the wall curves
upward on the exterior to a short neck (1. 5 cm. in height) with direct flattish rim. On
the interior the neck is vertical to a sharp junction with the body. There is a burnished
whitish slip from the neck interior over all (?) the exterior. At the base of the neck on
the exterior there is a row of closely spaced tool-indentations. (Cuadros or Jocotal
Phase)
Total: 1 rim
Body sherds: Several body sherds are from vertical or flaring-wall bowls,
probably with flat base. One of these is of a gray paste, unslipped, with a rasped or
intentionally roughened exterior surface over which was applied coarse-incised crisscrossed lines. Another is slipped black-brown, is well-polished, and shows three coarseincised slant lines with a parallel line of triangular punctates. One body sherd of a
curved wall bowl or jar shows an appliqued crescent-shaped fillet on a background of gashincised crisscrossed lines (Fig. 17k). On the fillet there is polished red paint. (Cuadros
or Jocotal Phase)
Total: 8 bodies
Semetabaj Brown Ware

Total: 582 sherds
% of Preclassic Total: 42%
% of Site Total: 10. 2%
Discussion: This is the most common pottery at Semetabaj during the
Preclassic occupation, and may represent a locally produced ware. In paste, form, and
decoration it shows strong similarities to El Balsamo Brown Ware (Shook and Hatch, in
press) known from the site of El Balsamo, department of Escuintla, during the period
equivalent to the Sacatepequez phase in the Guatemala Highlands. It is noteworthy that
the bolstered rim jars (Vessel Form E) are very similar in form to those of Polished
Red on Unpolished Buff Ware of the Sacatepequez phase in the Guatemala Highlands (Shook
and Hatch, ms. in prep.). The lower levels of the excavations at Semetabaj produced
sherds of Semetabaj Brown Ware together with Sacatepequez phase diagnostics, but it is
certain that the ware continues into the Late Preclassic. Its Early Classic counterpart,
Santa Marta Brown Ware, may have developed directly from Semetabaj Brown Ware jars.
Paste: Medium-fine textured, compact, and hard-fired. Color ranges from
dark chocolate brown to reddish-brown to light brown, frequently with a thick gray core.
Under a hand lens can be seen numerous very tiny black particles and rounded glassy
inclusions which glisten in the light.
Surface finish: Vessels are all-over slipped (jars on the exterior only) the
same color as the paste and are low- to well-burnished. Sometimes there is the addition
26
of a red or specular hematite red paint. Typically there is punctate decoration, occasionally
incising or modeling.
A. Vessel Form: Comales and curved wall bowls. Some of the comales are
quite flat, the wall thickness varying from .7 to 1 cm., with slightly upcurving flattened
rim. Other examples, including both comales and bowls, have a curved wall with direct
flat or thinned rim, or rim with rounded outer lip and sharp inner lip (Fig. 6c). The
comales are better smoothed on the interior than the exterior, while the bowls are wellsmoothed and burnished on both surfaces. The following variations occur:
1. Exteriorly thickened rim with sharp inner lip and rounded outer
lip bearing indentations 2. 5 cm. apart around the edge (Fig. 16a).
2. Polished red paint from the outer lip of the direct flattish rim
down 3.7 cm. on the interior with two parallel crescent lines incised through the red
paint (Fig. 6a).
3. Red paint from the interior of the rounded rim down 2 to 2. 5 cm.
on the exterior. Below the red band there are traces of incised decoration. These
bowls are similar in style to the restricted orifice bowls with red rim band found in El
Balsamo Brown Ware.
4. One body sherd of a curved wall bowl shows on the upper wall
a
exterior red band which terminates at an encircling low ridge above the shoulder.
Below the ridge are incised vertical lines.
Total: 18 rims, 9 bodies

B. Vessel Form: Vertical to flaring-wall bowls with direct rounded or flat
thickened rim or flaring rim with rounded lip. This form includes both thin and thickwalled bowls. The following variations occur:
1. An incised line encircles the flaring wall on exterior 1 cm. below

the thick, flattened rim; there is polished red paint on the flat rim surface and again
below the incised line on exterior (Fig. 6b, 16e).
2. A low ridge encircles the flaring wall on exterior 1 cm. below the
rounded
direct
rim; specular hematite red paint extends from the edge of the rim over
all interior.
3. Wall exterior bears two or more encircling rows of punctates.

4. Wall is thin, flaring, with direct flat rim bearing low tabs on the
exterior lip; vessel is all-over slipped red and polished.
27
5. Wall is thin, vertical (rim form is uncertain), all-over slipped

red and polished, and bears incised decoration on the exterior.
6. Wall is thick, vertical, with rounded wall-base junction to a flat

base (rim form uncertain). On the wall exterior are two parallel incised stepped lines
which delineate zoned areas of polished red paint.

C. Vessel Form: Composite silhouette bowls. The upper wall is outflaring
or outcurving to a direct rounded or flat rim. From the junction with the lower wall
(which in some cases forms a low shoulder) the body curves to a rounded base. Some
bowls are unpainted (Fig. 6h), but commonly they have polished red or specular hematite
red paint from the outer lip or just below the rim on exterior over all the interior. The
following variations occur:
1. Two or more parallel encircling rows of punctates just above the

shoulder or curving lower wall (Fig. 16g).
2. A single row of punctates at the junction with the curving lower
wall, and vertical parallel incised lines below it.
3. A row of punctates on the curved lower wall.
4. Two encircling rows of punctates just above the shoulder and
spaced low vertical ridges extending from the shoulder to the base; one has broad
shallow flutes instead of ridges (Fig. 16k).
5. A pronounced ridge at the shoulder bearing spaced finger-indentations; polished specular hematite red paint covers from the wall above the shoulder to
1 cm. below the ridge.
6. Fingernail indentations on the curved lower wall.
D. Vessel Form: Restricted orifice bowls and neckless jars (tecomates).
These range from small, thin-walled vessels (Fig. 6e) to very large, thick-walled ones.
The body is globular to a direct rounded or thinned or flattened rim. One example may
have had red paint on the flattened surface of the rim, and another shows a portion of a
small boss on the wall exterior.
One very large restorable tecomate (diameter at rim is 34 cm.) (Fig. 160)
came from an intrusive pit exposed in the wall of Pit #4. It may have been re-deposited
in Early Classic times.
28

E. Vessel Form: Necked jars (Fig. 6f, g, i-l; 16b-d, f, h-j, 1). The neck
varies from 2 to 6 cm. in height, and is straight-flaring to a direct rounded, thinned,
or flattened rim, or the rim may have a sharp inner lip and a low flat 1 to 1. 5 cm. wide
bolster on the exterior. From the base of the neck the body rounds directly to a globular
form. Typically there are two opposite lip to shoulder strap handles. Some of the direct
rim examples are undecorated. Most, however, have variations as follows:
1. Polished red paint from the exterior of the rim or lower edge of
the bolster over all the neck interior.
2. A row of punctates below the rim or rim bolster and another one
or two rows at or above the neck-body junction.
3. The neck is plain but there are punctates or zoned punctates on
the jar body.
4. The strap handles are undecorated except for two examples which
bear multiple narrow vertical grooves (Fig. 16b).
A variation is included which may be a later development or degeneration
of this rather standardized jar form. Instead of having the row of punctates there is a
crude tool-indented fillet just below the direct rounded rim (Fig. 16d). The examples
are not numerous, but they may prove to be a critical time marker for the Late
Preclassic. We have observed that there is possibly a time gap at Semetabaj between
the latter part of the Late Preclassic and the Early Classic. During the Early Classic the
Santa Marta Brown Ware jars have an everted rim and punctates on the wide strap handle
rather than on the jar neck or body. The vertically grooved lip to shoulder strap handle
is also found in the Santa Marta Brown jars, but the grooves are finger-wide and separate
from each other, very casually applied, contrasting with the neat multiple narrow grooves
seen on the Semetabaj Brown examples.

F. Vessel Form: Everted rim jars and miscellaneous jars. This category
includes jar forms which do not qualify under Vessel Form E. The everted rim examples
have a globular body which terminates abruptly in a flat everted rim with rounded lip.
(This may be the prototype for the "tear-drop" jar form present in Early Classic Red
Paste Ware). The following variations are present:
1. Polished red paint on the upper surface of the rim and a toolimpressed narrow fillet extending vertically from the lower lip of the rim down to the
jar body.
29
2. The jar form is similar to Vessel Form E except that the handle is
attached at the middle of the neck rather than at the rim and there are multiple rows of
small punctates on the neck.
3. The jar has a convex or bulbous neck with flaring rim; the neck
bears punctates, sometimes with a modeled face (Fig. 16n).
Two miniature jars are included in this category. One (Fig. 6m, 16m) is a
collared tecomate or jar with lip to shoulder strap handle; the collar is painted red and
the body has rectangular panels of tiny punctates. The other miniature jar has a low neck
to direct rounded rim. The globular body is covered with large coarse punctates, and
there is polished red paint over all the interior to just below the rim on exterior.
Total: 6 rims, 6 bodies.
Jar body sherds indicate that some had horizontal or vertical ridges as found
among the composite silhouette bowls, while a few had encircling plain or tool-indented
fillets. There are several examples of modeling with fillets. One body sherd has multiple
encircling incised lines, and one shows lightly incised crossed lines. Another has
adjacent vertical finger-pressed grooves, and one bears "pseudo-rocker stamping" of
elongated zig-zag lines.
Total: 283 bodies

G. Vessel Form: Incensario (Fig. 6d). One sherd was recovered which is
possibly an incensario cover like those described by Borhegyl (1951: Fig. 4c').
Total: 1 sherd
Total Semetabaj Brown Ware body sherds, form not identified: 103 bodies.
Glossy Orange Ware
Total: 258 sherds

Discussion: This is a common pottery in the Guatemala Highlands beginning
possibly as early as the Middle Preclassic (Brockington 1967: 10-12; Ichon, personal
communication), and continuing well into the Late Preclassic. At Semetabaj this ware
Is second only to Semetabaj Brown Ware in sherd frequency within the Preclassic levels of
the excavations.
The variation in paste within Glossy Orange Ware suggests that more than one
30
ware is involved; we hope at a later date to secure the technological assistance necessary
for more accurate analysis of the paste composition.
Paste: Medium to medium-fine textured. Color ranges from brown to reddishbrown to light brown to pinkish, occasionally with a gray core. Most examples have
abundant and conspicuous white pumice particles throughout, and one has a very micaceous
paste.
Surface finish: All-over slipped orange to brownish-orange and polished to
a high gloss. Characteristically there are gray to black firing clouds. Decoration,
when present, usually consists of pre-slip and pre-polish grooving or (rarely) incising;
many examples show Usulutan resist decoration.
A. Vessel Form: Open bowls with vertical, straight-flaring, curved, or
outcurving wall to direct rim (Fig. 6 p-s; 16p, q, s, V, w). The rim may be rounded,
thinned rounded, flat, or exteriorly thickened and rounded. On the vertical wall bowls
the lower portion of the wall curves to what is probably a rounded or flattish base. Most
of these have one or more encircling grooves just below the rim on the exterior; one
has a low ridge encircling the wall exterior 1. 5 cm. below the rim with multiple encircling
grooves below it (Fig. 6p, 16p).
The bowls with straight-flaring to outcurving wall (Fig. 6 s; 16q) have a rounded
to sharp wall-base junction with slightly sagging or flattish base. A number of these bowls
have one or more encircling incised lines or grooves on the rim interior (Fig. 6r).
Others have no decoration on the interior, but on the wall exterior there are encircling
grooves (Fig. 16v), ridges, and/or sets of parallel slant lines or bent lines (Fig. 16w).
Total: 62 rims
B. Vessel Form: Open bowls with straight-flaring to outcurving wall; rim
is beveled, or offset slightly from the wall interior, or everted. The straight-flaring
wall bowls probably have a flat base, while the outcurving wall bowls have a rounded
wall-base junction to a sagging base. Most of the examples show Usulutan resist decoration either in multiple parallel lines or clouds. Variations occur as follows:
1. One or more encircling grooves on the face of the rim bevel
(Fig. 6t,u; 16r, t).

2. Everted rim with a deep finger-wide encircling groove on the
upper surface.
3. Everted rim with an encircling narrow groove just above the
junction with the wall interior; from the encircling groove to the rim edge are spaced
slant lines.
31
4. Wide flat everted rim with grooved beveled lip and an encircling
groove at the junction with the wall interior.
5. Outcurving wall with rim offset from the wall on interior; on the
exterior the rim has a 2.5 cm. wide rounded bolster (Fig. 6v; 16x).

C. Vessel Form: Open bowls with "hooked-in" rim. These have a shallow
curved or outflaring wall which sharply angles or flares inward 1 to 1. 5 cm. below the
direct rounded rim, giving the effect of a "hooked-in" rim (Fig. 60). Two of the examples
have an encircling groove on the upper wall exterior just below the rim.
Total: 3 rims
D. Vessel Form: Composite silhouette bowls and cuspidors. The cuspidor
example has a vertical upper wall to a direct rounded rim; the lower wall is rounded to
the base (Fig. 6w). There is an encircling line .5 cm. below the rim and another at the
junction with the lower wall; on the lower wall there are spaced vertical lines. The
composite silhouette bowls have a flaring to outcurving upper wall to a direct rounded or
beveled rim while the lower wall is offset or rounded to the base. The offset example
has a beveled rim with two encircling grooves on the face of the bevel (Fig. 6n; 16u).
Total: 4 rims
E. Vessel Form: Restricted orifice bowls and jars. Variations occur as
follows:
1. Globular body with direct rounded rim; there are at least two
encircling grooves below the rim on exterior.
2. Straight insloping neck to direct thinned rounded rim; the body is
probably globular. The wall tends to be thin (. 5 to . 6 cm.) and has at least one encircling
groove just below the rim on exterior and another at the neck-shoulder junction.
3. Small jars with vertical neck to a direct rounded rim. One

example has two encircling grooved lines below the rim on exterior.
4. Jars with low, vertical neck to a direct flat rim (Fig. 6x). From
the base of the neck the body rounds directly to a globular form; around the body
exterior are broad shallow vertical flutes.
Total: 10 rims
Body sherds: One flat base sherd indicates that the floor of the vessel had
grooved parallel lines. Another flat base sherd has a low solid nubbin foot. No other
32
vessel support in this ware was recovered from the excavations.
Total: 164 bodies
Glossy Black Ware

Total: 65 sherds
% of Preclassic Total: 4.7%
% of Site Total: 1.1%
Discussion: This ware resembles Glossy Orange Ware in surface finish,

but the slip color is dark brown to jet black. It is a common pottery especially in the
Quezaltenango area, probably starting in the Middle Preclassic and continuing at least
through the Late Preclassic.
Paste: Texture varies from fine to medium-coarse; color is light to
medium brown, to gray, to black. Most examples show fine white (pumice?) and shiny
particles distributed throughout.
Surface finish: All vessels have an all-over thick dark brown to jet black
slip which is polished to a high gloss. In some cases the shiny particles in the paste
show through onto the surface and glisten in the light. Decoration, when present, is
usually by pre-slip and pre-polish grooving and incising.
A. Vessel Form: Open bowls, wall curving evenly from a rounded or
flattish base to a direct rounded or flat rim (Fig. 6y; 17h). One example with a
rounded base has an encircling groove 1. 5 cm. below the rim on exterior (Fig. 6aa;
17d). The rest are undecorated.
Total: 3 rims, 1 body

B. Vessel Form: Open bowls, wall straight-flaring to slightly outcurving to
a direct rounded, thinned, or flattened rim, or an everted rim. Base is probably flat.
Included is one rim with a low labial ridge 1. 5 cm. below the thinned rim. Vessels
may be undecorated or there may be one or more encircling grooves on the wall exterior
(Fig. 17a). One has on the upper surface of the everted rim two parallel grooves interrupted by a groove-outlined boss.

C. Vessel Form: Composite silhouette bowls and cuspidors. This is the
most common form of this ware recovered from Semetabaj. The upper wall is vertical
or outcurving to a direct rounded or thinned rim; the lower wall rainds to a sagging or
flat base (Fig. 6bb, 6 cc; 17f). Some vessels are undecorated but most have an encircling
33
line or groove just below the rim on exterior, and another at the junction with the lower
wall. The area between these two lines may be plain, or there may be an encircling line
at the center, or there may be two parallel undulating lines (Fig. 6ee; 17b), or opposed
sets of slant lines (Fig. 6z; 17i). Some have a row of punctates just below the rim or at
the junction with the lower wall. Several examples have spaced or continuous gashes on
the curving lower wall (Fig. 17e).
D. Vessel Form: Restricted orifice bowls and jars. On the restricted
orifice bowls the wall curves from the base to a direct rounded or thinned rim. Some
of these (Fig. 6 dd; 17j) have just below the rim on the exterior two or three encircling
grooves interrupted by one or more bosses. One example has at least three deep
encircling grooves between low ridges starting 2 cm. below the rim on exterior (Fig. 17g).
The one jar sherd has an insloping neck to a direct rounded rim (Fig. 17c). From the
neck base the body is probably globular. There is a shallow grooved encircling line
.5 cm. below the rim on exterior.
Body sherds: Among the body sherds is a flat base sherd with a low solid
nubbin foot. Another sherd is unusual in having post-slip incised triangles filled with
cross-hatching.
Total: 38 bodies
Polished Black-Brown Fine Wares (Preclassic)
Total: 169 sherds

Discussion: This category includes more than one ware, only one of which
is recognized with certainty (Type I). The rest comprise a small lot of miscellaneous
Black-Brown slipped and polished vessels and are held together in Type II until more
accurate identification is possible.
I. Type: Kaminaljuyu Fine-Incised Black-Brown Ware
Discussion: This is the same ware as described by Shook and Kidder (1952:
68) at Kaminaljuyu, and undoubtedly was imported into Semetabaj from that region. The
ware is also described under Pumiceous Black-Brown Ware, Type II, in the Monte Alto
Report (Shook and Hatch, ms. in prep.). This pottery serves as a hallmark of the
Miraflores and Arenal phases of the Guatemala Highlands.
34
Paste: Fine to medium-fine in texture. Color is usually reddish-brown but

ranges to light brown to gray due to firing. The paste characteristically has very fine
white pumice particles generously distributed throughout, and there are occasional tiny
flecks of mica.
Surface finish: All-over slipped dark reddish-brown to brown to black, and
well-polished to a "velvety" glossy finish. Decoration consists of fine incising of hairline
thickness, probably accomplished by a needle point after firing. Body portions without
decoration have undoubtedly been included among the body sherds of Type II.
A. Vessel Form: Open bowls with straight, slightly flaring low wall to a
flat everted grooved rim. The lower wall is probably slightly curved to a small flat or
recurved base. Only one small rim of this form is represented in the Semetabaj sample.
Total: 1 rim
B. Vessel Form: Cylinders. Wall is vertical to a direct rounded or thinned
rounded rim. Base is probably flat. This form at Semetabaj is represented by two rims.
Both have a shallow encircling pre-slip groove .8 to 1. 2 cm. below the rim on exterior,
and parallel to it a fine-incised encircling line. One body sherd (Fig. 7c) shows on the
exterior an encircling pre-slip grooved line and below it there is fine-incised decoration
of scroll bands as described by Shook and Kidder (op. cit.: Fig. 17d).
Trotal: 2 rims, 1 body

C. Vessel Form: Composite silhouette bowls with direct rounded rim (Fig.
7a). The wall curves outward from a shallow rounded lower wall. The curve of the lower
wall forms a low ridge at the wall-base junction from which the base is sagging or rounded.
A fine-incised line encircles the wall exterior just below the rim and there are two more
at the junction of the outcurving upper wall with the rounded lower wall. Below the upper
encircling line is a line of continuous fine-incised arcs or scallops. This form and
decoration is present in the Miraflores phase tombs at Kaminaljuyu (bid.: Fig. 19c).
Total: 1 rim
Body sherds: A number of the bowl body sherds show fine-incised scroll
patterns on the vessel floor (Fig. 7b).
Total: 7 bodies
D. Vessel Form: Jars. One jar body slerd (Fig. 7d) came from the intrusive
pit deep within Pit #8. The wall exterior bears two parallel fine-incised curvilinear lines
suggesting the arm or leg of a monkey design similar to that illustrated in Shook and
Kidder (op. cit.: Fig. 18g). It cannot be determined at this time whether this particular
sherd pertains to the Miraflores or Arenal phase.
35
Total: 1 body
I. Type
Miscellaneous Preclassic Black-Brown Wares
Discussion: This category contains the remaining sample of the polished

black-brown fine wares recovered from Semetabaj which are considered to be Preclassic
in date. Classification in some cases is based on provenience, in others on form and
decoration. Clearly several wares are represented, but with such a small sample it seems
unwise at this time to define precise boundaries. Many of the sherds probably qualify as
Pumiceous Black-Brown Ware, Types I and HI, as described for Monte Alto (Shook and
Hatch,ims. in prep.).
Paste: Generally fine, but occasionally ranging to medium in texture. Color

varies from brown to reddish-brown to black, usually with fine white particles lightly
distributed throughout.
Surface finish: Vessels are all-over (jars on exterior only) slipped blackbrown and are well burnished. Slip color ranges from jet black to dark brown to reddishbrown.
A. Vessel Form: Open bowls, wall flaring or outcurving to a direct rounded
or thinned rim, or rim with sharp inner lip and rounded outer lip. Body sherds indicate
that the base is flat to slightly sagging. One body sherd has a labial or medial flange.
Some examples (Fig. 7e) have two parallel incised lines encircling the wall exterior .8 cm.
below the rim. One of these (Fig. 7f; 170) has white paint rubbed into the lines, and
another has criss-crossed lines on the wall below the encircling lines. One has coarseincised slant lines. One unusual example is a small light brown slipped bowl with the wall
strongly outcurved to a direct thinned rim. The base is flat with probably three small solid
nubbin feet (Fig. 17n). On the floor of the bowl there are very lightly incised crescent
lines pendant from the wall junction.

B. Vessel Form: Cylinders. These have a vertical or slightly outcurving
wall and a flat base. One example has a thick vertical wall which outcurves at the top to
a flat rim with sharp interior and exterior lip. One body sherd has a thick vertical wall
with broad vertical shallow flutes continuous around the exterior, and another has incised
vertical panels filled with cross-hatching. One thin-walled body sherd has two pre-slip
encircling narrow grooves below the rim on exterior, with two parallel post-slip incised
lines below the grooves.
Total: 1 rim, 3 bodies

C. Vessel Form: Restricted orifice bowls. This form is represented by two
rims, both direct rounded. The more complete example (Fig. 7g; l7p) has a straight
36
insloping wall from
sharp shoulder; the lower wall is rounded towards the base. Both
have an encircling pre-slip groove on the wall exterior 1 cm. below the rim, and the
large example has another just above the sharp shoulder.
Total: 2 rims
D. Vessel Form: Jars. The single rim represented is from a small lownecked jar, the neck flaring outward to a direct flat rim; there is no decoration.
Among the body sherds is a small jar with very sharp shoulder, the lower body curving
towards the base. The jar is low-polished on the exterior, and just above the shoulder Is
a row of deep horizontal gashes. A second example (Fig. 7h; 17q) is similar in form
and in having the row of gashes, but the shoulder is not as sharp; the lower wall is
highly polished on the exterior and bears criss-crossed finely incised lines. One
globular body sherd is well polished on the exterior and has pre-slip multiple parallel
encircling grooves 2 to 2. 5 cm. apart.

Type II Bowl Body Sherds: 39 bodies
Miscellaneous Body Sherds, All Vessel Forms: 63 bodies
Utatlan Ware
Total: 19 sherds
Discussion: This pottery was named and described by Lothrop (1933: 112).
It is most common in the area of the department of Quiche and may be confined to the
Middle Preclassic.
Paste: Medium-fine texture, light to dark brown at the edges with thick gray
core. Fine white particles are distributed throughout the paste. The ware is typically
hard-fired.
Surface finish: The bowl interior and base exterior are unslipped but wellsmoothed and polished, the color ranging from light to dark brown according to the paste.
Wall exterior is decorated with red or specular hematite red paint alternating with areas
of graphite paint in geometric patterns.
Vessel Form: Most examples are from open bowls with straight-flaring wall
to a direct flat rim; base Is flat (Fig. 7i, j; 17s). Polished red paint extends from the
inner lip down to an encircling Incised line 1 to 1. 3 cm. below the rim on exterior.
Below this there are alternating zones of red and graphite paint outlined by incised lines.
37
Included is a rim of a square bowl with vertical wall to direct flattish rim, and probably
a flat base. The corners of the bowl are sharp rounded. Specular hematite paint extends
from 1 cm. down on interior over all the exterior.
Fine Red Ware
Total: 17 sherds
Discussion: This is the same ware as that identified at Kaminaljuyu and
described by Shook and Kidder (1952: 90). It was considered to be an import at that site.
Apparently the ware has its beginnings in the Sacatepequez phase and continues through
the Miraflores and Arenal phases. Only a few sherds of Fine Red Ware were recovered
from Semetabaj.
Paste: Fine textured, charcoal gray in color with abundant very fine white
particles.
Surface finish: Vessels bear an all-over thick reddish-orange slip which is

well burnished. Some have Usulutan resist decoration.
A. Vessel Form: Curved wall bowls and/or "sapo" bowls. These are shallow
bowls with the wall curving evenly to a direct rounded or flattish rim. The outline of the
rim suggests that it was a toad effigy or "sapoll bowl (Ibid.: 91).

B. Vessel Form: Open bowl with straight-flaring wall to direct rounded rim.
Base is probably flat. There is no decoration.

C. Vessel Form: Open bowl with wall outcurving to an everted rim with
sharp lip (Fig. 7k). Vessel has a faceted wall-base junction and slightly sagging base.
One example recovered has two pre-slip encircling grooves on the upper surface of the
rim, and on the wall interior there is Usulutan decoration in multiple parallel lines.

D. Vessel Form: Restricted orifice bowls. The one rim recovered comes
from a deep bowl with wall curving evenly to a direct rounded rim (Fig. 71). One body
38
sherd is of similar form, but possibly comes from a necked vessel. Both examples are
slipped and well polished on interior and exterior.
Purple on Fine Red Ware

Total: 1 sherd
% of Preclassic Total: . 07%
Discussion: Only one dubious example of this ware was recovered from the
excavations at Semetabaj. The ware is confined to the Sacatepequez phase in the Guatemala
Highlands, and is similar in paste to Fine Red Ware but differs in having purple or graphite
painted decoration.
Paste: Fine textured, pinkish-brown with abundant fine white particles.
Surface finish: Vessel bears an all-over thick reddish-orange slip over

which was applied purple painted decoration. Surface was then well-burnished.
Vessel Form: The single example is of an open bowl with flaring wall to an
interiorly beveled rim. A shallow groove encircles the wall on the exterior 1 cm. below
the rim. The groove bears purple paint, and there is another purple band on the wall
interior just below the junction with the rim bevel. On the face of the bevel there are
crescent grooved lines filled with purple paint.
Total: 1 rim
Sacatepequez White Paste White Ware
Total: 20 sherds
% of Site Total: .35%
Discussion: This pottery at Semetabaj was undoubtedly imported directly or
the department of Sacatepequez where it was manufactured (Shook 1951:
from
indirectly
97). The ware is a diagnostic of the Sacatepequez-Providencia phase of the Guatemala
Highlands.
Paste: Medium fine textured, white, often with a light gray core. Tiny flakes
of gold mica are sparsely distributed through the paste.
Surface finish: Vessels are unslipped, the same color as the paste, but usually
well smoothed and burnished with occasional gold mica flakes showing on the surface.
When red painted decoration is added, the red is also polished.
39
A. Vessel Form: Curved wall bowls. This form is represented by body sherds
only. Two examples show pre-polish grooved decoration on the wall exterior.
Total: 2 bodies
B. Vessel Form: Open bowls with vertical, straight-flaring, or outcurving
wall to direct rounded or thinned rim, or everted rim. One vertical wall example has
an encircling shallow groove .8 cm. below the rim on exterior and a narrow red band on
the top surface of the rim. One flaring wall example has red paint from the rim down at
least 1.5 cm. on exterior; another example (Fig. 7m) has an everted rim with a red
rim band from the outer lip down 1. 5 cm. on interior.
Total: 4 rims
C. Vessel Form: Open bowls with flaring to outcurving wall and labial or
medial ridge. Rim is direct rounded. The medial ridge example has an outcurving upper
wall and traces of a red rim band. The lower wall is curving toward the base. Both the
medial and labial ridge examples have sets of at least two gashes on the upper surface of
the ridge.

D. Vessel Form: Composite silhouette or cuspidor. This form is represented
by one body sherd. The upper wall is outcurving while the lower wall rounds to the base.
Grooved decoration is present on the exterior of the lower wall.
Total: 1 body
E. Vessel Form: Jars. This form is represented by body sherds only.
These show a-globular body; one example has an encircling 2 cm. wide red band on the
shoulder.
Total: 6 bodies
Miscellaneous Body Sherds of Sacatepequez White Paste White Ware: 4 bodies
Sacatepequez-Providencia Red Ware

Total: 1 sherd
Discussion: The recognition of this ware at Semetabaj is based on a single
example which was classified as such with some hesitation, as indicated below.
40
The ware apparently has its origins in the Guatemala Highlands where it is
confined to the Sacatepequez and Miraflores phases (Shook,ims. in prep.).
Paste: Fine textured, reddish-brown throughout with occasional tiny white
particles.
Surface finish: All-over slipped red to dark red, well polished.

Vessel Form: Restricted orifice bowl with sharp shoulder (Fig. 7n). From
the sharp shoulder the wall flares inward for 1 cm. to a direct rounded rim. The lower
wall curves toward the base. The example from Semetabaj has an encircling pre-slip
groove .5 cm. below the rim on exterior. This decoration is not known elsewhere in
association with these bowls; otherwise the sherd is typical of the ware.
Total: 1 rim
Sacatepequez Red on Unpolished Buff Ware
Total: 4 sherds
Discussion: This is a common ware in the department of Sacatepequez,
Chimaltenango, and Guatemala during the Sacatepequez phase (Shook,ims. in prep.),
and was apparently imported into Semetabaj.
Paste: Medium textured, reddish-brown, with abundant small white pumice
temper and occasional ferruginous inclusions.
Surface finish: See under Form.
Vessel Form: All sherds recovered of this ware at Semetabaj are from jars.
One, at least, has a short vertical neck to a direct rounded rim(Fig. 70; 17r); from the
base of the neck the body rounds to a globular form. On the neck interior and over all
exterior the vessel bears a very light orange to buff unpolished thin slip. Over the buff
slip there is red paint from the top of the rim to the base of the neck on exterior, and
below this are finger-wide red lines running down the shoulder. The red paint is cursively
burnished, the polishing strokes sometimes extending onto the buff areas.
41
Orange Slipped Wares

116 sherds
Total:
Discussion: This category includes all orange slipped wares recovered from
Semetabaj other than Glossy Orange Ware. A few of these have Usulutan resist decoration
(Type I). Another group has a fairly glossy slip which is highly micaceous (Type II).
Most of the material is probably of Preclassic date, although undoubtedly some mixing with
Early Classic types has occurred.
I. Type: Orange slipped with Usulutan resist decoration.
Paste: Medium to fine texture with fine white particles distributed throughout.
Color ranges from reddish to light brown to light tan, often with a thick gray core.
Surface finish: Vessels are all-over slipped dark to light orange and are well
burnished. Usulutan resist decoration is present usually in multiple parallel straight or
wavy lines; less frequently there are clouds or blotches.
A. Vessel Form: Curved wall bowls. The wall curves upward from a rounded
base to a high rounded shoulder which terminates in a direct rounded rim. One example
has two encircling pre-slip grooves just below the rim on exterior.
Total: 2 rims
B. Vessel Form: Flaring-wall bowls, base probably slightly sagging. On one
the
example
wall is straight-flaring to a direct rounded rim. On the wall exterior there
are two encircling incised lines, and below this there are parallel curved lines. Another
example has a flaring wall to an interiorly beveled rim. There is an encircling pre-slip
groove just above the junction of the rim bevel with the wall interior.

C. Vessel Form: Composite silhouette bowl with triangular rim. From the
sharp lip the rim slopes downward on the exterior, then turns Inward abruptly to meet the
wall. This lower edge of the rim bears shallow notches. On the interior the wall is
straight to the sharp lip of the rim. The wall-base junction is sharp rounded; base is
flattish.
Total: 1 rim
D. Vessel Form: Small jar. The single example has a low neck which is
outcurving to a direct rounded rim. Body is probably globular.
42

Body sherds: One body sherd, probably of a flaring wall bowl, has a medial
or labial ridge. There is one example of a small solid nubbin vessel support and another
showing what may be part of a ring base or the attachment of a large hollow mammiform
support.
Total: 4 bodies
II. Type: Micaceous Orange Slipped
Discussion: This type is probably related to Protoclassic Glossy Orange
Ware, which is slightly micaceous. It is definitely associated with Preclassic levels in
the excavations at Semetabaj, although it probably continues into the Early Classic.
Some examples are quite glossy and but for the presence of the micaceous slip would have
been classified as Glossy Orange Ware.
Paste: Medium to medium-fine texture. Color ranges from medium brown to

reddish-brown to pinkish-tan, usually with abundant small white particles of sand or
quartz. Some examples also have a large amount of mica in the paste.
Surface finish: Vessels bear an all-over (jars on exterior only) well polished
thick orange slip which is very micaceous.
Vessel Forms: All examples come from bowls with flaring wall and probably
a flat or slightly sagging base. Variations occur as follows:
1. Direct rounded rim with an encircling pre-slip groove . 5 cm.
below the rim on exterior. One body has a similar groove just above the sharp wall-base
junction.
2. Direct flat rim with red paint extending from the outer lip of the
rim down 1 cm. on the interior. The wall exterior shows evidence of negative painting.
3. Interiorly beveled rim with an encircling pre-slip groove on the
face of the bevel.

4. Everted rim, the upper surface being slightly convex to a rounded
lip. On the surface of the rim near the junction with the wall interior there is an incised
encircling line, and from it are evenly spaced short lines extending toward the outer lip.
5. One bowl sherd has a 1. 5 cm. wide medial flange.
Body sherds: There are two hollow cylindrical vessel supports, and a
43
number of jar body sherds.
Total for Type II: 7 rims, 20 bodies

Hi. Type: Miscellaneous Orange Slipped
Discussion: This category includes all orange slipped examples that do not
fit other classifications of Preclassic and Early Classic types.
Paste: Texture ranges from fine to medium coarse, the latter having conspicuous white particles of pumice or quartz. Color ranges from reddish-brown to light
brown to light pinkish-tan.
Surface finish: Vessels bear an all-over (jars on exterior only) orange slip
which is moderately to well polished. One body sherd shows negative painting (?), with
dark orange streaks against the lighter mottled orange background.
Vessel Forms: These include the following:

1. Flaring-wall bowl with direct rounded rim. The paste of this
bowl is quite coarse with large white inclusions.
2. Flaring-wall bowls with beveled or everted rim, some of these
with an encircling finger-wide pre-slip shallow groove on the face of the bevel or upper
surface of the rim. Two examples without a rim groove have pre-slip notching on the
outer lip and post-slip incised decoration on the wall exterior; this example is highly
polished.
3. Bowl with very thin (. 4 cm.) flaring wall to a direct sharp rim;
base is probably rounded. A very shallow finger-pressed pre-slip groove encircles the
wall exterior 1 cm. below the rim.
4. Bowl with wall which is slightly curved on the exterior, straight
on the interior to a direct rounded rim.
5. Small, low-necked jars. One of these has a direct flat rim. The
rim form on the other example is uncertain, but there is a wide lip to shoulder strap
handle. One small jar body sherd has a modeled elongated boss on the exterior.
6. One example is possibly a vessel lid. The side is very thin (. 4 cm.)
tapering to a direct flat rim; there is a sharp junction with the flat top of the lid.
Body sherds: Among the bowl body sherds is one solid tapering foot, and one
hollow cylindrical mammiform vessel support with small rounded terminal. There are
44
several thick-walled jar body sherds, one with multiple encircling pre-slip grooves, and
another with an encircling tool-indented fillet.
Total for Type m: 14 rims, 63 bodies

Preclassic Red Paste Ware
Total: 15 sherds
Discussion: A few jar body sherds and one rim of Red Paste Ware were
recovered from the Preclassic levels of the Semetabaj excavations; the sample is
insufficient to determine what relationship there is, if any, to the Protoclassic and Early
Classic Red Paste Wares.
Paste: Medium to medium-coarse texture. Color ranges from brick red to
brown, most examples having conspicuous white particles.
Surface finish: In some cases the jar surface is smoothed only and left
unslipped and unburnished. Others bear on the exterior a red or reddish-brown slip which
is burnished.
Vessel Forms: All examples are from jars. The one rim recovered is from
a wide-mouthed jar; the body is probably globular to a flaring rim with flattish lip. The
upper surface of the rim bears polished red paint.

Scored Censor Covers
Total: 5 sherds
% of Preclassic Total: .36%
Discussion: Scored censor covers are common in the Guatemala Highlands
during the Sacatepequez phase, probably continuing into the Late Preclassic.
Paste: Medium-coarse textured. Color is ruddy or reddish-brown, thickly

sown with fine to medium quartz particles which glisten in the light.
Surface finish: Surfaces are all-over smoothed but left unslipped and unpolished.
After smoothing, coarse gash-incised line decoration was applied as described below.
45
Vessel Form: This type of cover typically has the form of a bowl with flaring
wall to a direct rim; base is strongly recurved. Coarse incising occurs on the wall
exterior and underside of the recurved base. One example shows gash-incised parallel
lines, another has criss-crossed lines, and a third has the lines at right angles to each
other.
Protoclassic Ceramic Wares
Glossy Orange
Streaky Brown
Red Paste
Red on Buff
Orange Slipped (Usulutan)
The Protoclassic period at Semetabaj is very lightly represented, if at all, in
the material from the excavations. It is known primarily from Lot #23, a ceramic
collection purchased from a local worker, Carlos Garcia, who reported that it came from
a burial exposed when he was digging a barro pit in the vicinity of "Xecotoj" on Finca La
Vega, about 500 meters north of the site. The lot consists of several partially restorable
vessels and large sherds of others.
Some mixing with earlier and later material is evident in Lot #23, this
material being as follows:
1. One rim sherd of a Preclassic Semetabaj Brown jar with lip to

shoulder strap handle showing multiple parallel tool-impressed grooves.
2. One loop handle of an Early Classic Santa Marta Brown Ware
comal; the handle bears finger indentations.
3. Four fragments of trough-handled ladle censors; one is of Early
Classic Mahogany Brown Ware, and the others of a coarse brown ware of uncertain
identity.
4. Two fragments of hollow-handled ladle censors, one being of
either Early Classic Esperanza Flesh Ware or Late Classic Amatle Hard Ware. The
other is Postclassic, ware unidentified; it has a modeled face at the end of the handle.
An unrecognized ware is present, being of fine paste, light brown in color.
Vessels are thin-walled (. 4 cm.), all-over well smoothed, and bearing a thin lightly
burnished orange-brown slip. Vessel forms include a plain simple silhouette bowl and an
outcurving wall bowl with rounded base; both have a direct rounded rim. There is one
46
long hollow cylindrical vessel support with traces of appliqued decoration. The chronological placement of this ware is not known, possibly it is Early Classic.
Protoclassic Glossy Orange Ware
Total: 14 sherds
Discussion: These vessels appear to be a later development of Preclassic
Glossy Orange Ware, showing similarities in surface treatment but striking differences in
vessel form. The ware does not seem to continue into the Early Classic at Semetabaj.
Paste: Medium to medium-coarse texture. The color is gray-brown to
reddish-brown throughout, with numerous fine to coarse white particles and occasional
ferruginous inclusions. Many examples have abundant tiny mica flakes in the paste,
which are only occasionally visible on the slipped surface.
Surface finish: All vessels bear a thick reddish-orange slip which is polished
to a gloss. On some examples the slip is crazed.
Vessel Forms: The following variations occur:
1. Shallow bowls with straight-flaring to outcurving wall; base is
rounded and there is a very low basal ridge (Fig. 17z, aa). The rim may be direct
rounded or flat grooved, or everted to a rounded lip with two pre-slip encircling grooves
on the upper surface. One very shallow example (Fig. 7p; 17x) has a short, widely
flaring wall to a direct rounded rim; the rounded base has four long hollow cylindrical
vessel supports. This tetrapod vessel is similar to one from the Salcaja-Momostenango
area illustrated by Lothrop (1936: Fig. 91b), and one from Nebaj (Smith and Kidder 1951:
Fig. 75k).
2. Open bowls with straight-flaring wall to direct, slightly sharpened
rim. There is no decoration (Fig. 17y).
3. Open bowl with flaring wall to an everted rim with rounded or flat
lip (Fig. 17bb). One small fragment has on the wall exterior a modeled face with "coffee
bean" eye; the face is outlined by a punctated fillet.

Protoclassic Streaky Brown Ware
Total: 22 sherds
Discussion: At Semetabaj Streaky Brown Ware apparently begins in Protoclassic
times and continues into the Early Classic. The paste and surface finish is consistent
47
but the forms differ slightly in the later times.

Paste: Medium texture with sporadic small to large white inclusions, probably
quartz and pumice. Paste color is dark to medium reddish-brown.
Surface finish: Vessels are all-over slipped orange-brown and burnished.

The slip color is uneven and patchy, in some areas being bright reddish-orange but
grading into medium to dark brown. The burnishing causes some streaking of the slip,
but this is not as pronounced as it is in Early Classic times.
A. Vessel Form: Curved wall bowls. The one example is from a deep bowl
with the wall curving evenly from the rounded base to the direct, slightly thinned rim.
Incised decoration is present on the wall exterior, consisting of two encircling lines
below the rim and another on the curve of the lower wall towards the base. Between these
framing lines are opposed sets of slant lines (Fig. 7s; 17dd).

B. Vessel Form: Deep bowls. The wall is vertical, then flares outward to
a direct flattish rim with rounded inner lip and sharp exterior lip (Fig. 17cc). The base
is flat. Most base sherds are without vessel supports, but one has a solid nubbin foot
(Fig. 17ff).

C. Vessel Form: Wide-mouthed jars. These have a deep globular body
which curves inward to a short outcurving neck with everted rim to a rounded or slightly
sharpened outer lip. In some cases the neck on the interior curves evenly to the everted
rim, and in other cases there is a sharp junction to a flat everted rim (Fig. 7q; 17ee).

Body sherds: Among the body sherds are several forms of vessel supports,
to
in addition the solid flat nubbin foot mentioned above. There is one long hollow cylindrical foot with flat base (Fig. 17hh), one large hollow bulbous support with circular vent
(Fig. 17gg), and one small hollow bulbous support like those of Vessel Form B in Early
Classic Streaky Brown Ware. There is one solid and one hollow conical foot.
Total: 5 bodies
48
Protoclassic Red Paste Ware
Total: 10 sherds
Discussion: Two types can be distinguished in this ware, Type I being of a
non-pumiceous paste and hard-fired, and Type II being conspicuously pumiceous. The
same differences are noted for the Early Classic Red Paste Wares. Red Paste Wares
are present in very small quantity in the Preclassic levels at Semetabaj and become welldeveloped in the Protoclassic and Early Classic Times.
I. Type: Non-pumiceous Red Paste
Discussion: This type is represented by three sherds only; two being of a

comal form that is typical of Early Classic Mahogany Brown Ware.
Paste: Medium fine texture, dense, without conspicuous inclusions. Color is
characteristically brick red but ranges to dark brown from firing.
Surface finish: The surface is cursively to well smoothed but not burnished.
Two of the examples bear an all-over fugitive white to silvery slip.
Vessel Forms: One example is a portion of a tall pedestal base from a large
bowl with gently rounded base. The other two examples are a rim and base sherd of a
comal, the wall curving to a direct flattened rim. On the wall exterior is an encircling
deep narrow groove. The base sherd is flat and on the floor there are finger-pressed
grooves in a swirling pattern similar to the comales of Early Classic Mahogany Brown
Ware.
Type I Total: 1 rim, 2 bodies
IH. Type: Pumiceous Red Paste

Discussion: This pottery resembles a type from the Pacific Coast of Guatemala.
It is found at Monte Alto, department of Escuintla, where it is classified as Molina Red
Paste Ware, Fuego Bright Micaceous Type. It is found in abundance at the site of Bilbao
(Parsons 1967: 106) where it is termed Baul Reddish-Brown Paste Ware, Fuego Ceramic
Group, Fuego Bright-Micaceous: Fuego Variety.
Paste: Coarse textured, dull brick red in color with abundant large and conspicuous particles of white pumice and quartz.
Surface finish: One example is very roughly smoothed and left unslipped and
unbarnished. The other has an all-over thin unburnished micaceous orange slip, over
which there is red painted decoration.
49
Vessel Forms: All sherds come from two jars. One has a tall, vertical neck
(13 cm. high) with direct, slightly thickened rim (Fig. 17 11). A wide strap handle
projects horizontally from the rim, then curves directly downward to its lower attachment at the base of the neck where the body slopes downward to a globular form. The
other example is from a large thick-walled jar with wide flaring rim to a flat, grooved
lip (Fig. 7t). On the neck there is a modeled fillet which outlines a circular area
containing an upper and lower row of widely spaced appliqued flat buttons. Between the
rows of buttons is a line of closely spaced reed impressions. The jar bears an all-over
orange micaceous thin slip or wash; there is a purplish-red painted band on the flat
grooved lip of the rim, and the same paint covers the circular area outlined by the fillet.
Body sherds show red paint In broad line designs. The jar is unburnished.
Type II Total: 3 rims, 4 bodies
Protoclassic Red on Buff Ware
Total: 32 sherds
Discussion: This ware at Semetabaj is similar to Monte Alto Red on Buff
Ware which is common at the site of Monte Alto during the Late Preclassic Arenal phase.
In a careful study of this ware at Monte Alto (Shook and Hatch, ms. in prep.) it was
observed that the pottery starts there as a local copy of Sacatpequez Polished Red on
Unpolished Buff Ware imported from the Guatemala Highlands during the Sacatepequez
phase, and continues to develop as a popular type in Late Preclassic times. The ware at
Semetabaj is very close in style of surface finish and decoration, but shows a slightly
different form inventory although In both areas the ware is primarily associated with the
jar form. It cannot yet be determined how closely the ware at Semetabaj is related to
that at Monte Alto, but it is noteworthy that in the Protoclassic Lot #23, of the four major
wares recovered, two (Red Paste and Red on Buff) are also familiar pottery styles on the
South Coast of Guatemala during approximately the same time span or slightly earlier.
Paste: Medium to medium-coarse texture. Color ranges from buff to
pinkish to reddish-brown, with small to large (in the coarser texture) inclusions of white
pumice and quartz, and very tiny black crystals and mica flakes which occasionally show
on the surface and glisten in the light. Frequently there are large gray firing clouds.
Surface finish: Vessels are well smoothed on the exterior, cursively smoothed
on the interior. The exterior bears a thin white or pinkish-cream to buff wash which
usually is moderately burnished, occasionally left unburnished. Over this slip there is
unpolished red painted decoration.
A. Vessel Form: Deep bowls (Fig. 8a; 17ii). The body is ovoid, with
a
probably rounded base and slightly restricted at the top where the body meets the short
flaring rim with rounded lip. The form is intermediate between the burial urn form and
50
the "tear-drop" shaped jar seen in the Early Classic. Unpolished red paint extends from
.5 cm. down on the rim interior over the exterior to the junction with the body. There
is red painted decoration on the body exterior in vertical panels of broad lines and solid
triangles.

B. Vessel Form: Jars. Two forms are represented. One form has a
short neck with two opposite wide, flat, lip to shoulder strap handles, similar to the
Santa Marta Brown jars of the Early Classic. The other form has a tall (up to 12 cm.
in height) flaring or outcurving neck to an everted rim with flat or rounded lip (Fig. 7r).
Some of these jars have a strap handle which is attached to the neck 2 cm. below the
rim, extending to the shoulder (Fig. 17jj). Others have the strap handle on the globular
body (Fig. 17kk), and one has a lip to shoulder handle. Most have red paint on the upper
surface of the rim and handle, with broad lines or solid dots of red paint on the body;
one has red paint over all the neck exterior and other has red paint on the body only.
Protoclassic Orange Slipped Ware
Total: 1 sherd
Discussion: One body sherd of an orange slipped bowl with cloudy Usulutan
decoration was recovered in the Protoclassic Lot #23. Usulutan decorated wares do not
continue into the Early Classic at Semetabaj.
Paste: Medium texture, dark brown to black from firing, with conspicuous
white particles and scattered ferruginous lumps.
Surface finish: All-over slipped and polished light orange, with pale blotches
caused by resist painting. The bowl interior is fire-blackened.
Vessel Form: The bowl has a vertical wall with a low ridge with finger-indentations at the wall-base junction. The base is slightly sagging and at the outer edge there
is evidence of a hollow bulbous vessel support.
51
Early Classic Wares

Santa Marta Brown
Esperanza Flesh
Streaky Brown
Mahogany Brown Slipped
Red Paste
Red on Buff
Coarse Pink
Creamy Brown Slipped
Early Classic Polished Black-Brown
Graphite on Red
Peten Polychrome
Early Classic Fine Paste
Micaceous Slipped
Red Painted
Santa Marta Brown Ware
Total: 1261 sherds

% of Early Classic Total: 29.6%
Discussion: In total number of sherds recovered, Santa Marta Brown Ware
exceeds all other wares at Semetabaj (Fig. 5g). It was probably manufactured locally
and appears to be a strictly utilitarian ware, being represented by jars and comales only.
It is possible that the ware has its origins in Preclassic Semetabaj Brown Ware, although
further comparative ceramic study is needed before a definite statement can be made.
Both wares are associated with wide lip to shoulder strap handles and punctate decoration.
The evidence suggests that the paste of Semetabaj Brown Ware becomes coarser through
time, less hard-fired, and lighter in color, and that the neck gradually acquires a more
everted rim until it results in the flat everted rim in Early Classic Santa Marta Brown
Ware. However, this development can only be surmised at the present time because the
Arenal phase, so critical for following this sequence, is only weakly represented at
Semetabaj.
Santa Marta Brown Ware may also be related to Streaky Brown Ware which it
sometimes resembles in surface finish. Both of these and Semetabaj Brown Ware were
probably locally produced and, if not related generically, may have been subject to the
same style influences.
Paste: Medium to medium-coarse, with abundant quartz, white pumice, and

black particles. Paste color ranges from light reddish-brown to medium chocolate brown,
rarely with a darker core.
52
Surface finish: Comales are better smoothed on interior than exterior, and
are left unslipped. Jars are smoothed over all exterior and on interior to base of the
neck. Some jars are unslipped, but characteristically there is a thin orange-brown slip
or wash applied cursively on the neck interior, over the rim and neck, and on the horizontal
section of the wide strap handle. This slipped area Is very casually and streakily
burnished, the strokes leaving darker brown lines and giving an appearance similar to
Streaky Brown Ware.
A. Vessel Form: Comales (Fig. 8e). One form of comal in this ware is a
shallow simple silhouette bowl with the wall curving evenly to a direct rounded rim.
From the rim project two opposite loop handles with a row of closely spaced finger indentations on the outer edge. This comal is similar in form to one of the forms described
under Vessel Form A of Mahogany Brown Slipped Ware.
A second form in this category Is a very shallow flat bowl with low wall
strongly curving inward to a direct rim with sharp interior lip. There is no evidence of
handles.
Total: 8 rims
B. Vessel Form: Wide-mouthed jars (Fig. 8b, c; 18e, h). The body is
globular, curving to a short neck (2 to 3 cm. high) which ends abruptly in a flat everted
rim with rounded lip. There are two opposite, wide, lip to shoulder strap handles. The
handle extends horizontally from the lip, then curves down to a right angle to meet the
jar body. This handle is a flat wide strap, being widest at its junction with the rim, then
tapering slightly. About 50% bear coarse punctates on the upper surface of the horizontal
part of the handle (Fig. 8d; 18d). One example has the punctated area outlined by a
coarse-incised line (Fig. 18a). Several have finger-impressed grooves on the horizontal
section rather than punctates (Fig. 18g). There is no other decoration on these jars except
for one example that has an encircling row of closely spaced punctates at the neck-body
junction.

C. Vessel Form: Neckless jars (Fig. 8f). This category is represented by
three rim sherds only. They are of tecomate form with a globular body to a direct rounded
or thinned rim. One has an encircling fillet 1. 5 cm. below the rim on exterior.
Total: 3 rims
Esperanza Flesh Ware
Total: 807 sherds

% of Site Total: 14%
53
Discussion: Esperanza Flesh Ware is a well-known diagnostic for the

beginning of the early Classic period In the Highlands of Guatemala, and was found to be
one of the most abundant of the finer paste wares (as opposed to coarse paste wares) at
Kamlnaljuyu during the Esperanza phase (Kidder, Jennings and Shook 1946: 174). The
ware has been found in greatest concentration In the department of Chimaltenango where
it eventually develops into Late Classic Amatle Hard Ware. It seems probable that the
manufacturing center was near the area of the modern town of Chimaltenango. However,
the greatest frequency of this pottery at Semetabaj (Fig. 5g) raises the possibility of a
nearby source there or, perhaps more likely, that there was a strong trade orientation
toward the Teepan-Chimaltenango region. At the present time San Andres Semetabaj
functions as a center for redistribution of dried fish and vegetables coming up from Lake
Atitlan which are exchanged for maize and beans of the surrounding region and the
Chimaltenango-Tecpan valleys. In other words, it operates as a center which connects
contrasting ecological zones occupied by Cakchiquel speakers, and as such may reflect
an ancient pattern.
Paste: Color is pinkish-orange to ruddy to brown, to gray from firing.
Texture ranges from medium-fine to medium-coarse, the coarser paste typically showing
numerous fine white pumice particles. The ware is generally hard-fired and rings when
struck or thumped.
Surface finish: Most vessels are all-over slipped and burnished (necked jars
on exterior only). The slip is characteristically a bright pinkish-orange or "flesh" color,
often with flushes of blue-gray or silvery-gray from firing. The burnishing tends to be
streaky, with the strokes appearing blue-gray against the normal pink surface. Decoration
is not common, but when present it consists of modeling and/or punctates, and grooving.
A. Vessel Form: Open bowls with direct rim, the wall shallow curved or
straight-flaring from a rounded base (Fig. 8h; 18w, aa), some probably with ring base
support. The rim is usually rounded or thinned but in some cases is sharp on the exterior,
rounded on the interior, approaching an interiorly beveled rim. A few examples have a
slightly thickened rounded rim with an encircling finger-pressed groove 1 to 2 cm. below
the rim on exterior. Several examples have a modeled boss on the exterior just below the
rim, and one has appliqued fillets with a "coffee-bean" eye to represent a human face
(Fig. 8i; 18t).

Bodies of Ring Bases: 19
B. Vessel Form: Tripod bowl with flaring or outcurved wall; rim may be
direct rounded but more commonly is outcurving to a rounded or thinned lip, or flaring with
interior bevel (Fig. 8k; 18bb). Two base forms are represented. One has a flattish base
with a rounded to sharp wall-base junction where there are attached three evenly spaced
hollow hump-back rattle feet (Fig. 8j; 18y). The other form has a flat to slightly sagging
base with sharp basal ridge and three evenly spaced hollow bulbous rattle feet attached at
54
the outer edge of the ridge (Fig. 81; 18u). The rim form of the latter is uncertain as all
base sherds lack the upper wall and rim, but presumably the bowl is similar to an Early
Classic vessel from Nebaj, illustrated by Smith and Kidder (1951: Ifg. 721). One body
sherd shows an encircling molding with upper and lower ridges framing a row of buttons,
as shown on the vessel from Nebaj. Several examples have a low encircling ridge on the
wall exterior just below the flaring rim.

Hump-back Feet: 14 bodies
C. Vessel Form: Deep bowls with direct or flaring rim. These tend to be
bowls
with rounded or flattish base, the wall flaring to a direct rounded rim, or the
large
wall may curve to a flaring rim with rounded lip or rim with interior bevel (Fig. 8g, m, n;
18 v, z). There is no decoration nor any evidence of vessel supports.

Bowl Body Sherds, Vessel Forms A-C: 243 bodies
D. Vessel Form: Wide-mouthed jars (Fig. 8o, p; 18cc). The body of these
jars is globular, similar to some of the bowls in Vessel Form C except that the orifice is
more restricted. The rim is flaring to a rounded lip, or is flat everted. One example
with flat everted rim has a wide lip to shoulder strap handle.

E. Vessel Form: Necked jars (Fig. 18x). The neck on these jars is vertical,
averaging 5 cm. in height, terminating in a slightly flaring to wide-flaring to everted rim
with rounded lip. Body sherds indicate a globular body. Most of the neck sherds have one
or two parallel horizontal rows of punctates (Fig. 8q); one has evidence of a modeled face
(?) outlined in punctates. One example has a low encircling ridge 1 cm. below the rim on
exterior, and some of the others have one or more encircling ridges on the neck or at the
neck-body junction.

Jar Body Sherds, Vessel Forms D and E: 293 bodies
Hollow Bulbous Feet: 16 bodies
55
Streaky Brown Ware

Total: 515 sherds
% of Early Classic Total: 12. 1%
Discussion: This is a common pottery at Semetabaj, probably having a nearby
source of manufacture as it is not a familiar trade ware in the Guatemala Highlands. It
is so closely related to Esperanza Flesh Ware in certain forms and in surface treatment
that in small sherds the two are almost indistinguishable. Streaky Brown, however,
apparently antedates Esperanza Flesh is not, and it exhibits earlier form modes such as
large swollen hollow mammiform vessel supports.
In certain cases Streaky Brown Ware also shows an affinity with Preclassic
Glossy Orange Ware, raising the very tentative possibility of a generic link between the
two. If true, it suggests that Streaky Brown Ware may have originated to the north of
Semetabaj (with Glossy Orange Ware), and was already in existence when Esperanza Flesh
Ware was introduced from the east. After this introduction it may have begun to
imitate the imported ware in forms and surface finish. Further study should resolve
these questions and clarify the relationship between the wares.
Paste: Medium fine to medium coarse, with the coarser paste showing conspicuous quartz and pumice particles. Color is reddish-brown to yellowish-brown. The
paste is not as hard-fired as Esperanza Flesh Ware.
Surface finish: Vessels are all-over (jars on exterior only) slipped and
burnished. The burnishing strokes tend to leave slight depressions which can be felt
with the fingers, although on some examples the burnishing is very smooth, with the
surface attaining a very high polish. Slip color is basically reddish-brown, but is characteristically streaky and variegated, ranging from dark chocolate brown to red to orange
to pinkish on the same vessel. At times the burnishing strokes show up as darker streaks
on the reddish-orange surface.
A. Vessel Form: Open bowls with wall shallow curved or straight-flaring
from a rounded base to a direct rounded or flat rim, the form resembling Esperanza
Flesh Ware Vessel Form A. Several examples have a shallow finger-pressed groove on
exterior 1. 5 cm. below the rim (Fig. 9a). Among the body sherds are several examples
of ring bases.
Total: 15 rims, 4 bodies of ring stands

B. Vessel Form: Tripod bowls with flaring or outcurving wall: rim is direct
rounded (Fig. 9b) or beveled on the interior, or slightly everted (Fig. 19a) to a rounded
or thinned lip; at least one of the latter has an encircling shallow rim groove (Fig. 19d).
56
As in Esperanza Flesh Ware Vessel Form B, there are two distinct base forms. The
more common form has a flat base with sharp basal ridge with three evenly spaced hollow
bulbous rattle feet attached at the edge of the ridge (Fig. 9c; 19b). One of these has a
basal molding consisting of an upper and lower ridge; between the ridges is a row of
closely spaced horizontally gashed flat "buttons" or "coffee-bean" eyes (Fig. 9e; 19c), a
decoration also found in Esperanza Flesh Ware. The less common form has a sagging
base with a sharp-rounded wall-base junction where there are attached three evenly
spaced hollow hump-back rattle feet (Fig. 19f). One example of this form has a modeled
"coffee-bean" eye on the wall exterior.
Included in this category is one large hollow mammiform foot (Fig. 19e) which
may have been from a tetrapod, probably Protoclassic.
It should be noted that in Streaky Brown Ware, the hollow bulbous vessel
support on the flat base is much more common than the hump-back foot on the sharprounded wall-base junction. In Esperanza Flesh Ware it is just the reverse, the humpback footed vessel being the more popular.

Plain and Modeled Body Sherds of Vessel Form B, with
Hollow Bulbous Rattle Feet: 47
Hump-back Feet: 4 bodies
Conical Feet: 2 bodies
C. Vessel Form: Deep bowls (Fig. 9d; 19g-i, k). The wall is vertical or
slightly curving from a flat or rounded base. Rim is direct rounded or strongly outflaring
to a rounded lip. These are typically large bowls with thick walls, of coarser paste than
the other forms. The slip color is very uneven and the burnishing is streaky. There is
no decoration.

Body Sherds of Bowls, Vessel Forms A-C: 240
D. Vessel Form: Necked jars. These have a vertical to outcurving neck,
from 2 to 5 cm. in height, to a direct rounded or flaring or everted rim with rounded lip.
One example with neck 5 cm. in height has two encircling ridges about 2 cm. apart, and
an encircling punctated fillet at the neck-shoulder junction (Fig. 9f; 19j); the form of the
body is not known, probably is globular.
Total: 8 rims, 36 bodies, including 6 handles
57
Mahogany Brown Slipped Ware

Total: 410 sherds
Discussion: This ware may be related to certain red-brown slipped vessels
that became popular in the department of Quiche (particularly at the site of Zacualpa)
during the Early Classic and Early to Late Classic Transition, and in the department of
Quezaltenango and Chimaltenango during the Late Classic; the appropriate references are
given in the description of vessel forms. Mahogany Brown Slipped Ware does not appear
to be derived from any of the earlier wares known from Semetabaj, and, like Esperanza
Flesh Ware, is a good diagnostic for the Early Classic at this site.
Paste: Medium-fine texture with very fine quartz and black particles (easily
visible with a hand lens) evenly distributed throughout the section. Characteristically
it does not have conspicuous white pumice particles. Paste color is light pinkish-tan.
Surface finish: Vessels bear a thin reddish-brown slip, about the color of
mahogany wood stain, which contrasts with the lighter color of the paste. Typically
there are jet black firing clouds. Burnishing varies from very cursive with a matte
finish, to a good polish. The slip tends to flake off in weathering.
A. Vessel Form: There are several forms of comales in this ware, the most
common having two opposite loop handles projecting vertically from the rim of a large
simple silhouette bowl (Fig. 9g; 18i). The base of the bowl is flat, the wall curving upward evenly to a direct rim with rounded outer lip and sharp inner lip. The comal bears
an all-over slip which is more highly burnished on the interior than the exterior. The
floor of the comal has pre-slip finger-pressed shallow grooves in a swirling pattern
(Fig. 18b, f), and there are spaced finger Indentations on the outer edge of the loop handles.
This comal may be related to those at Zacualpa (Wauchope 1975: Fig. 61e) described as
having a reddish-brown matte slip on both surfaces, but apparently lacking the fingergrooving on the floor and indentations on the loop handle. Wauchope assigns these to
Early Classic Balam 2, but the form apparently continues into the Early to Late Classic
Balam-Pokom Transition at that site (Ebid.: Fig. 90c).
A second comal form is recognized by the presence of several portions of
"bail" or "market basket" handles. This type of handle is attached to the rim at two
opposite sides of the comal, forming an arc over the comal in basket-fashion. The incomplete handles recovered are solid, rounded on the upper surface, flat on the underside,
the ends flattening and spreading out where they join the rim. One bears a section of a
slant-gashed fillet on the upper surface 6 cm. from the rim junction (Fig. 18c). The
comal body sherds suggest that the form of this comal is similar to that with the opposite
loop handles described above. This comal form is present at Zacualpa (Ibid.: Fig. 69j)
in Early Classic Balam 2 and continues or reappears in Early to Late Classic BalamPokom Transition (bid.: Fig. 90a).
58
A third comal form represented by one body sherd is a shallow simple
silhouette bowl with probably a direct rounded rim and lug handle with circular perforation
at the center. Other shallow comales have flattened clay buttons pressed onto the rim,
either continuous or in sets.
Total: 21 rims, 24 plain bodies, 25 bodies with finger-impressed
shallow grooves
B. Vessel Form: Deep bowls. The upper wall curves outward very slightly
to a thickened direct rounded rim or rim with sharp inner lip, or flaring rim with interior
bevel. On at least one example the lower part of the wall curves from a low ridge or
thickening to meet the flat base. The wall is thick and on the exterior there is typically
coarse-incised decoration in patterns of rectilinear (Fig. 9k; 18n, q) or zig-zag or slant
lines (Fig. 18j) applied before adding the mahogany brown slip. Several examples have
multiple finger-wide encircling grooves on the wall exterior, and some have decoration on
the rim bevel consisting of an encircling line of incised continuous crescents or zig-zag
lines. All of these bowls are very lightly to moderately burnished on interior and exterior.
On some the interior was left unslipped but the burnishing strokes picked up some of the
reddish-brown slip from the exterior, leaving streaky horizontal patches of color.

C. Vessel Form: Jars. There are at least two jar forms. One form has a
globular or "tear-drop" shaped body which terminates abruptly in a flat everted rim.
These may be small and thin-walled jars (Fig. 9p) or large and thick-walled. One thinwalled example has two encircling grooves on the upper surface of the rim (Fig. 9o).
One thick-walled example has three or more encircling grooves on the body just below the
everted rim (Fig. 9n; 18k); another has a thick rounded collar rather than an everted rim.
A second jar form has a vertical to outcurving neck 5 cm. or more in height.
The wall is of medium thickness (. 8 cm.) and there is an encircling sharp ridge at or just
above the neck-body junction (Fig. 9i; 18m). None of the neck sherds has the rim attached;
the one rim sherd present is of a flaring wedge-shaped rim (Fig. 9m).
Jar body sherds indicate that the exterior was slipped and cursively burnished
at least to the base. The neck interior was burnished with the characteristic streaking of
the slip as seen on the interior of deep bowls. All handles appear to be vertical strap
attached probably at two opposite sides of the jar body. One handle is modeled of two
strips of clay joined at the ends where the handle meets the body, and another shows a
twisted rope design as described below.
Many body sherds (Fig. 18s) indicate an encircling ridge just above the maximum diameter of the jar. There are two cases of an encircling finger-indented fillet on
the jar shoulder, and above or below this is an undulating line (Fig. 181) suggestive of the
"squiggle" associated with Late Classic Amatle Hard Ware (Rands and Smith 1965 (2): 134)
from the department of Chimaltenango. Another example has the undulating line with a
59
fillet; attached above and below the squiggle, straddling it, is a strap handle which has
along the center a modeled twisted rope design (Fig. 9j; 18p). There is one example of
a wide flat strap handle with the squiggle above it; between the handle and the squiggle are
multiple shallow punctates.
Two body sherds have dentate-stamp decoration (Fig. 18o, r) very similar to
a Late Classic jar collected by Shook from Finca Arabia, department of Quezaltenango
(Kidder 1954: Fig. 5e). The Finca Arabia jar has an encircling ridge at the middle of the
neck, is slipped a color resembling mahogany brown, and may possibly represent a later
development of this ware.
Total: 6 rims, 280 bodies including 8 handles

D. Vessel Form: Ladle incersarios (Fig. 91). These have a shallow oval
bowl with direct rounded rim. The handle is of the open trough form with a finger-wide
channel running the length of it.
Tolal: 6 rims, 8 bodies

Red Paste Ware
Total: 495 sherds

Discussion: This ware at Semetabaj has been divided into three types. Types
I and II are similar in paste, but differ in form and surface treatment, probably reflecting
utilitaria versus ceremonial purposes. Type III differs in having conspicuous and
abundaf oarse pumice in the paste. We do not yet understand the precise relationship
between the types, and until they can be accurately identified it seems best to keep them
in one generalized ware category but distinguished from each other within it.
A few examples of Types I and III were recovered from Preclassic levels at
Semetabaj but as small sherds only from which the vessel forms cannot be determined.
Type II is apparently most popular during the Protoclassic at Semetabaj (Lot #23).
I. Type:
Discussion: This type seems confined to utilitarian use as there are only two
forms present, comales and jars.
Paste: Medium to medium-coarse with irregular quartz particles and

occasional mica flecks. Color is brick red to reddish-brown.
60
Surface finish: See under Vessel Form.

A. Vessel Form: Walled comales (Fig. 10a). These have a flat base, the
wall curving or flaring from a rounded to sharp-rounded wall-base junction to a direct
rounded rim. The wall is noticeably thicker than the base. The comal is better smoothed
on the interior than the exterior, and some bear a thin light orange micaceous wash. The
floor of the ccmal may be smoothed like the wall interior, or it may be coarsely striated.
At least some of these comales bore handles. There is one example of a circular lug
handle projecting from the rim; it has a small round perforation through the center of it
and deep gashes around the outer edge. Another has a triangular lug handle with a large
circular perforation through the center. Among the body sherds there is a section of a
"bail" or "market basket" style handle which has a rounded upper surface while the underside is flat.
N
The flaring-wall comales seem to have a long life in the Highlands of
Guatemala. The form is common in a red paste ware comal at the site of Amatitlan
during the Late Classic (Shook Laboratory sample).
Total: 54 rims, 27 plain bodies, 15 striated bodies,

1 lug handle, 1 bail handle
B. Vessel Form: Short-necked jars with globular body and lip to shoulder
strap handles. The more common jar form has an everted rim with rounded lip (Fig. lOb)
from which a wide flat strap handle projects horizontally, then makes a right angle to
meet the jar body. The form is similar to Santa Marta Brown jars. One example, instead
of an everted rim has a sub-labial ridge just below the rim; the wide strap handle projects
directly from the ridge in the manner just described. The second form has a short neck
with direct rounded rim (Fig. 10c). On the exterior the neck-body junction is evenly
curved, while on the interior the neck curves to a sharp neck-body junction. The strap
handle springs from the rim and curves to its point of attachment above the jar shoulder.
Some of these jars are unslipped. Others have a sloppily applied white slip
on the neck interior and again on the exterior starting from the lower edge of the everted
rim and extending over the jar body. The white slip may be low-burnished and is often
very micaceous. The upper surface of the rim and handle is left unslipped and unburnished
or it may have a thin red slip which is low-burnished.
Body sherds indicate that some of these white-slipped jars have one or two
encircling ridges on the body exterior. One example has below the two ridges a redpainted dot over the white slip.
Total: 24 rims, 186 bodies, including handles
61
Discussion: This type differs from Type I in forms and is generally thicker
walled and of coarser paste.
Paste: Medium to medium-coarse with many light colored volcanic ash (?)
and quartz inclusions, some of these ranging up to 1 cm. in diameter. Color is brick
red to reddish-brown.
Surface finish: Surface is roughly smoothed only and is typically left unshipped
and unburnished. Color is the same as the paste, often with large black firing clouds.
The surface of jars (Vessel Form C) appears to be intentionally roughened or striated.
Occasionally on the spiked vessels of Vessel Form D there is a thin fugitive white slip.
A. Vessel Form: Shallow bowls and comales. The comales are flat, either
slightly upcurvlng at the rim or with flaring wall to a direct rounded rim. The wall-base
junction is rounded with the wall slightly thicker than the base (Fig. 1Od). The shallow
bowls are similar to the comales in form but are smaller in diameter. The base is
thick with rounded wall-base junction, the wall thinning noticeably toward the direct
rounded rim, giving the appearance of a saucer (Fig. 1Oe). Both the comales and small
shallow bowls are better smoothed on the interior than the exterior.

B. Vessel Form: Open bowls with wall curving to a beveled or everted rim
with flattish or thinned lip. One very thick-walled example has a rounded base and
evidence of a solid tripod support (Fig. 10f). Vessels are roughly smoothed on interior
and exterior.

C. Vessel Form: Jars. These apparently have an elongated "teardrop"
shaped body which terminates in a flat everted rim with rounded lip. The base is probably
flattish, according to the body sherds recovered. The interior of the jar is left very rough.
The exterior has a striated surface achieved by scraping it with a rough-edged tool.
Included is one rim which came from the surface of Pit #6. It is similar to
the wide-flaring rim jars as described for Protoclassic Red Paste Ware. It bears an
all-over thin light orange micaceous slip.

D. Vessel Form: Spiked vessels, censors, etc. One of these Is a large
cylindrical vessel (censor?) with basal ridge and flat, slightly sagging base. The rim
form Is uncertain. The vessel is crudely modeled and left very rough on the interior.
62
The spiked vessels have finger-pinched daubs of clay on the exterior (Fig.
lOg). One example has a flaring wall to direct rounded rim, and bears an all-over thin
red unburnished slip. Another has a slightly curving wall to a direct rim with fingerpressed tabs of clay continuous around the exterior. The vessel bears a thin fugitive
white slip on the exterior.
Total: 109 sherds (rims and bodies)
m. Type:
Discussion: This category consists of a few sherds only which do not appear
to
to belong Types I and II. They resemble most closely the Red Paste Ware of the
Protoclassic, and may be related to it.
Paste: Coarse textured with abundant and conspicuous pumice particles
throughout. Color is brick red to reddish-brown.
Surface finish: Most are smoothed but left unslipped and unburnished.
Several have a thin unburnished orange slip, and one jar sherd is slipped red on the
exterior and cursively burnished.
Vessel Form: Most sherds come from jar bodies with strap handles. One
jar rim is present; this jar has a short neck which tfminates abruptly in a flat everted
rim.

Red on Buff Ware
Total: 29 sherds
% of Early Classic Total: .68%
Discussion: This pottery is probably the same as or a slightly later development of Protoclassic Red on Buff Ware. It is a very minor category of the Early Classic
wares.
Paste: Coarse textured, the color ranging from pinkish to tan, with
abundant large conspicuous pumice and sand particles.
Surface finish: The jars are smoothed on the exterior and in some cases
there is a thin burnished whitish slip on the neck and body exterior, and interior of rim and
neck. Some have unpolished red paint on the upper surface of the rim and handle, and red
painted broad line decoration on the exterior at and below the neck-body junction.
63
Vessel Forms: All examples seem to come from large, medium to thick-walled
jars with vertical to flaring or outcurving neck. The rim is beveled on the interior to a
flat lip, or flaring or everted with a rounded lip. From the neck base the body is probably
globular; among the body sherds is a thick strap handle.

Coarse Pink Ware
Total: 172 sherds

Discussion: At Semetabaj Coarse Pink Ware is confined to the Early Classic
levels of the excavations. Its friable nature and lack of care in manufacture suggests
It was a local ware which was produced, at least in part, for ceremonial use.
Paste: Medium to coarse texture, the coarser paste showing abundant
pumice and sand particles. Some examples also have numerous large and conspicuous
red ferruginous inclusions. Paste color is pinkish tan to light pink to gray.
Surface finish: The majority of vessels are all-over smoothed but left
unslipped and unburnished. Others are slipped the same color as the paste and moderately
burnished. Some of the vessels bear a thin fugitive white unburnished slip.
A. Vessel Form: Open bowls with curved to flaring wall from a flat base.
Rim may be direct rounded or flat, or beveled on the interior, or slightly everted. One
restorable example (Fig. 1On) recovered from Pit #3 has a beveled rim to a thinned lip,
sharp basal ridge, and three solid tapering feet. It was undoubtedly deposited as an
offering along with other large sherds of a similar vessel (Fig. 10m) without the basal
ridge and tripod supports. Some of the direct rim examples have spaced pointed tabs
projecting vertically from the rim, while others have finger-pressed daubs of clay
continuous around the rim exterior or overlapping both sides of the rim (Fig. 10j). One
example has a finger-indented "pie-crust" rim and traces of fugitive white paint on the
interior and exterior. Among the body sherds is a ring stand base from a large bowl
with basal ridge.
Total: 50 rims
B. Vessel Form: Curved wall bowls with flat everted rim; the base is
probably rounded. The wall curves on the interior to a sharp junction with the flat everted
rim with rounded or sharp outer lip (Fig. 10h). One body sherd suggests that these
bowls may have had loop handles on the wall exterior. There is no slip or painted
decoration.
64
Total: 3 rims, 5 bodies, including 3 ring stand bases

C. Vessel Form: Other bowls. These tend to be thick-walled, rather coarsely
fashioned bowls. The wall is vertical (Fig. 101), curved (Fig. 10k), or flaring (Fig. 10i)
to a beveled or everted rim with a rounded lip. Wall-base junction is rounded to a
flattish base. Vessels are smoothed on the interior and exterior, and some bear an allover burnished slip which is whitish or the same color as the paste. One has a fugitive
white slip on the interior and is unburnished.

D. Vessel Form: Neckless jars. These tend to have a thinner wall than the
deep bowls. The body Is globular or sub-globular, the upper wall making a smooth curve
to a direct or slightly upturned rim. The rim may be rounded (Fig. 10p) but more
commonly is thinned sharpened (Fig. 10o), rounding on the interior to make a smooth
junction with the wall.
Total: 4 rims
Bowl Body Sherds: 74 bodies
Creamy Brown Slipped Ware
Total: 72 sherds
Discussion: This ware is found in small quantity at Semetabaj but it comprises
a distinct category in the Early Classic levels. In surface treatment and a few forms it
shares the style of an Early Classic streaky brown slipped ware from the area of
Tiquisate, department of Escuintla, but in certain other forms and in paste the two are
very different.
Paste: Medium tD medium-fine In texture. Color ranges from brick red to
light pink, with tan to gray to dark gray central core. All examples have varying amounts
of fine to medium white pumice and quartz particles. Some also have numerous small
to large conspicuous red ferruginous inclusions.
Surface finish: Vessels characteristically have an all-over brown to black

well-polished slip which appears patchy and streaky, the darker tones grading Into lighter
cream-colored ones, giving a "creamy" or "milky" effect. The slip often contains small
gold mica flakes which glisten on the polished surface.
A. Vessel Form: Curved wall bowls. Some of these are simple silhouette
bowls with the wall curving evenly to a direct thinned rounded rim (Fig. 10t; 19m). Others
are similar in form except the wall is more flaring from the rounded base and there is
65
an encircling finger-wide groove on the exterior just below the direct rounded rim (Fig.
1bv; 19n). Apparently some of the bowls had a ring base (Fig. 19p). A number of the
examples have conspicuous ferruginous particles throughout the paste.
Total: 13 rims, 20 bodies including 3 ring bases

B. Vessel Form: Open bowl with flat base; from a sharp wall-base junction
the wall is outcurving to a direct flat rim (Fig. 10s). The single vessel represented is
thick-walled and one base sherd shows evidence of a hollow cylindrical support. Paste
Is pumiceous with some mica flakes, and there is also mica in the mottled creamy-brown
slip. The base sherd has at least one pre-slip deep coarse-incised encircling line on the
wall exterior .5 cm. above the junction with the base.
C. Vessel Form: Deep bowls with basal ridge or flange. These are
generally large cylindrical or slightly flaring-walled vessels with flat or sagging base.
At the wall-base junction there is a pronounced encircling ridge or flange, and most
examples bear evidence of hollow (tripod?) supports. The one rim recovered and the
majority of body fragments come from a single vessel (Fig. 10q; 191). This rim is
direct thinned rounded, and 4.3 cm. below it on the interior is an encircling pre-slip
groove. There is no decoration on the wall exterior other than an encircling narrow
ridge on the upper surface of the basal flange. Probably belonging to this vessel is an
elongated tapering hollow foot with flattish terminal and two opposite vertical slot vents
at the sides. Another example from a similar vessel has an encircling sharp ridge
2 cm. above the basal flange. A third example has incised decoration on the wall
exterior consisting of an encircling line 1 cm. above the basal flange and extending from
It are parallel vertical lines (Fig. 19o).
Possibly associated with these bowls is a fragment of what may have been a
cover or lid with thick, flat, 1 cm. wide molding at the wall junction; the molding is
decorated with spaced deep slanted gashes (Fig. 17w).
Early Classic Polished Black-Brown Wares
Total: 337 sherds

% of Early Classic: 7. 9%
Discussion: This category includes all the polished black-brown slipped
wares recovered from the Early Classic levels of the excavations at Semetabaj which are
not recognized as Preclass' types. Certainly more than one ware is represented and
66
undoubtedly some mixing with Preclassic wares has occurred, especially among the body
sherds. Further study is necessary before accurate ware distinctions can be made.
Paste: Medium to fine texture. The color ranges from reddish to brown to
black from firing. The finer paste has very tiny pumice particles scattered throughout
with occasional ferruginous inclusions. The coarser paste has conspicuous medium-sized
particles of pumice and sand.
Surface finish: Vessels bear an all-over (jars on exterior only) polised

reddish-brown to dark brown to black slip. The darker slip sometimes contains
numerous mica flecks.
A. Vessel Form: Curved wall bowls. These are simple silhouette bowls,
the wall curving evenly from the base to a direct rounded rim. The wall is thin (. 5 cm.).
The slip on these bowls is reddish-brown, and there are conspicuous red ferruginous
particles in the paste. There is no decoration.

B. Vessel Form: Open bowls with wall flaring to an everted rim. One
example has on the upper surface of the rim incised multiple zig-zag lines bearing red
paint. The slip on these bowls varies from medium brown to jet black.
Total: 3 rims
C. Vessel Form: Vertical wall bowls and cylinders (Fig. 10r). The vertical
wall bowls are wider in diameter than the cylinders. Other than jars, this is the most
common form in Early Classic polished black-brown wares. The wall is vertical or very
slightly outcurving to a direct rounded or thinned rim; the base is probably flat. One
vertical wall bowl has shallow parallel vertical finger-wide pre-slip grooves around the
wall exterior. One of the cylinders has a pre-slip incised decoration of opposed slant
lines on the wall exterior below the rim. Another has post-slip and post-polish incised
decoration consisting of a band of hatched triangles below the rim on exterior and . 5 cm.
below these is an encircling line (Fig. 17t). The wall below the encircling line has decoration of cross-hatched panels alternating with parallel slant lines.

Bowl Body Sherds: 31 bodies
D. Vessel Form: Restricted orifice bowls and jars. The restricted orifice
bowls are represented by body sherds only. One of these has a sharp shoulder with a
straight upper wall sloping inward to the rim. The wall below the shoulder is rounded
towards the base. Above the sharp shoulder is a row of flat buttons with horizontal slit
through the center (Fig. 17u). Another body sherd shows the upper wall curving Inward
from the shoulder, then becoming vertical toward the rim. There is an encircling sharp
67
ridge above the shoulder and at least two rows of the horizontally slit "buttons". A third
example has a sharp-rounded shoulder with an incised zig-zag line above it.
There is one example of a neckless jar with globular body which terminates
in an exteriorly bolstered rim with flattened lip. The bolster is 2. 5 cm. wide. One jar
has an everted rim which is flat on the upper surface, rounded on the underside. A
polished black micaceous slip extends from the neck interior over the flat everted rim
surface, the lower side of the rim being left unslipped. This vessel apparently had two
opposite 4. 5 cm. wide strap handles on the globular jar body. Another jar rim is similar
in form but the outer edge is notched; a polished reddish-brown slip covers the rim
surface but the underside is left unslipped. This jar may have had a sharp shoulder.
Among the jar body sherds are a number with sharp or sharp-rounded shoulder;
one of these shows evidence of red-painted decoration. Others have a globular body,
occasionally with incised encircling or curvilinear lines.
Graphite on Red Ware,
Total: 8 sherds
% of Site Total: .14%o
Discussion: We suspect that this pottery is a later development from
Preclassic Utatlan Ware.
Paste: Medium fine texture. Color is brick red with a grayish brown core.
Visible throughout the section are very tiny white (quartz?) and mica particles.
Surface finish: All vessels bear a polished dark red slip over which is
applied graphite painted decoration (see under Vessel Form).
A. Vessel Form: Basal ridge bowls (Fig. 9h; 17v). The form is similar to
the Peten Polychrome basal ridge bowls of the Tzakol phase. The wall is straight-flaring
to a direct rounded or flattish rounded rim. On one example there is a shallow encircling
groove on the interior 1 cm. below the rim; on another the rim interior is offset from the
wall for a distance of 1. 2 cm. A sharp basal ridge encircles the bowl exterior at the wallbase junction. The base is rounded, but whether the vessel was supported by tripod feet
or ring base is not evident. The bowl interior and wall exterior as far as the upper surface
of the basal ridge is slipped a dark red or specular hematite red and is highly polished.
The base exterior and lower surface of the ridge is left unslipped but cursively polished,
the burnishing strokes leaving dark brown streaks on the reddish-brown surface. Graphite
paint fills the interior rim groove or offset portion, and on the wall exterior there is
graphite painted decoration in rectilinear designs.
68
B. Vessel Form: Jar or restricted orifice bowls. This form is represented
by one body sherd only. It suggests a globular jar body which is unslipped and unpolished
on the interior. The exterior is slipped dark red and is low-burnished, with graphite
painted decoration in vertical lines 1. 5 cm. apart.
Total: 1 body
Peten Polychrome Ware
Total: 7 sherds
% of Early Classic Total: . 16%
Discussion: The few sherds recovered are typical of Polychrome basal-ridge
bowls from the Peten during the Tzakol Phase, and undoubtedly represent a direct import
from that area into the Highlands.
Paste: Medium fine to fine texture; color varies from pinkish-orange to
ruddy to light pinkish-tan, to an occasional light gray core.
Surface: All vessels are slipped on interior and exterior with a light creamy
underslip, over which is applied a bright orange slip. Wall exterior has red and black
painted decoration. All surfaces are highly burnished except for a fragment of a base
with a ring stand which is slipped and polished on the vessel floor only.
Vessel Form: All sherds are apparently from basal-ridge bowls. The wall
is straight-flaring to slightly outcurving to a direct rounded rim or a rim which is very
slightly beveled on the interior. From the sharp ridge at the junction with the wall the
base curves to (probably) a low ring-stand. Two examples have a red painted rim band
with the paint extending from the outer edge of the rim, over the edge, and down .5 cm.
on the interior; one example has the red paint extending .5 cm. down on interior and
exterior. The other example is too severely weathered to see the rim band. One sherd
shows an encircling . 5 cm. wide black band on the wall interior below the red rim band.
All have a thin black line encircling the wall exterior either at the lower edge of the red
rim band or 1 cm. below it. One example has a 1 cm. wide black band encircling the
wall exterior just above the basal ridge, and the other example has black paint covering
the upper surface of the basal ridge. There are red and black painted designs on the wall
exterior, but all examples are too weathered or fragmentary to discern more than faint
outlines or small traces of the pattern.
69
Early Classic Fine Paste Ware
Total: 10 sherds
% of Early Classic Total: . 23%
Discussion: This is a very small ceramic category at Semetabaj, but is

distinguished by being of very fine paste.
Paste: Very fine in texture, some examples bearing no obvious temper and
others having fine white or black particles seen best with a hand lens. Color ranges
from light pinkish-tan to light gray.
Surface finish: Some examples bear an all-over highly polished light gray slip.
are
Others
unslipped but well-smoothed, and a few bear traces of thin micaceous white
slip which weathers readily.
Vessel Forms: One example with polished gray slip has a flat, slightly
recurved base and curved wall; the rim is not present. Another has a very flat base.
The unslipped examples come from curved wall bowls with rounded base. One example
with traces of white slip has a straight-flaring wall to direct rounded rim, and another is
from a necked jar.
Micaceous Slipped Wares
Total: 21 sherds
%of Site Total: .36%
Discussion: This is a very small category of pottery (probably all Early
Classic) which is characterized by having a very micaceous slip.
Paste: Medium texture, dark brown to light brown in color with conspicuous
small to medium sized white particles throughout. Some examples have mica flakes in the
paste.
Surface finish: Vessels bear an all-over thin micaceous slip which ranges in
color from pinkish-cream to gray to black. Some have, in addition, decoration in thin
red paint.
70
Vessel Forms: One rim sherd is of a simple silhouette bowl, the wall curving
slightly to a direct rounded rim. There is an all-over micaceous slip; the interior is
well smoothed, of pinkish-tan color, while the outside is less well smoothed and is fireblackened. There is a band of thin red paint from the top of the rim down .7 cm. on the
interior. Another rim is from a globular jar with low outcurving neck to a flat everted rim
with rounded lip. The jar bears an all-over highly micaceous black slip. Among the body
sherds is one from a jar with encircling low sharp ridge on the exterior. The jar bore an
all-over pinkish-cream micaceous slip and there is a thin red paint over the ridge.
Another has a similar ridge but lacks the red paint.
Red Painted Wares
Total: 60 sherds
Discussion: This is a miscellaneous category of ceramics which do not
qualify within the other classifications, and are distinctive in bearing red painted decoration
on the unslipped or slipped vessel surface. Most appear to be certainly Early Classic.
I. Type:
Red on Brown (Unslipped)
Paste: Ranges from fine, non-pumiceous, to medium-coarse with conspicuous

white particles. Color is medium to dark brown, often with a gray core.
Surface finish: Vessels are all-over smoothed and burnished but left unslipped,
the surface color being the same as that of the paste. All have decoration of burnished
orange-red to red paint.
A. Vessel Form: Open bowls with flaring wall to everted rim. Two rims
have a flat lip on exterior; the other two have a wavy rim edge with rounded lip. One
of the latter has a coarse-incised crescent line on the upper rim surface. All bear
orange-red burnished paint on the upper rim surface to the edge of the lip.
Total: 4 rims
B. Vessel Form: Cylinders. The single example is 11 cm. in diameter;
the wall is vertical to a slightly flaring rim which is rounded on the interior, sharp on
the exterior. Below the rim on the exterior are two encircling incised lines 1 cm.
apart, with the area between them filled with red paint; vessel is all-over well polished.
On one side, at least, there is a circular perforation through the vessel wall near the
upper edge of the red band.
71
Total: 1 rim
C. Vessel Form: Jars. Most examples come from jars with tall outcurving
neck (up to 10 cm. in height). On one example the neck terminates in a direct flat rim;
polished red paint covers the neck exterior to the rim. On others the neck terminates in
a wide-flaring rim. The neck exterior on these makes a smooth curve to the rim, and
there is a wide (5 cm.) polished red band encircling the base of the neck. On the interior
there is a sharp rim-neck junction, and polished red paint on the upper surface of the
rim. One body sherd is of a small thin-walled jar with sharp shoulder and rounded lower
wall to the base. Above the shoulder there is a band of polished orange-red paint with
concentric crescents incised through the paint.

Type I body sherds, vessel form not identified: 13 bodies
II. Type: Red on Orange Slipped
Paste: Medium to fine texture, color is light reddish-brown to light tan,
some with a gray core.
Surface finish: All vessels bear a cream to bright orange slip. This slip
ranges from thick to very thin, is polished, and in one case is slightly micaceous. Over
the orange slip there is red painted decoration.
A. Vessel Form: Curved wall bowls. Two examples have a direct rounded
rim; one of these has red paint on the rim, and the other has red paint from the
outer lip of the flattish rim down 1. 3 cm. on the exterior. Another example has a curved
wall to everted rim with sharp outer lip; on the exterior below the rim is an encircling
finger-depressed groove. In the groove are two encircling incised lines; red paint covers
from the interior of the rim, over it and down 2 cm. on the exterior to just below the
or flat
groove.
Total: 3 rims
B. Vessel Form: Flaring wall bowls. Several of these have a straightflaring wall to a direct rounded or flat rim. Decoration occurs as follows:
1. A red painted band from the rim edge down . 5 cm. on exterior.
2. Wall is thick (1. 5 cm.) with a red painted band on the flattish
rim surface.
3. Wall is thin (. 5 to .7 cm.) and bears a light micaceous wash on
the exterior above and below two encircling incised lines 1. 7 cm. apart. Red paint covers
the flat rim surface and the area between the encircling lines.
72
One example has a straight-flaring wall to an interiorly beveled rim with a

pre-slip encircling groove on the bevel surface. Red paint covers from .5 cm. below
the bevel, over the rim, and down 1 cm. on the exterior. One body sherd is from a flaring
wall bowl with sharp wall-base junction and sagging base; a 1 cm. wide red band
encircles the bowl at the wall-base junction.

m. Type: Red on White Slipped
Paste: Medium fine to fine texture; color ranges from light pinkish-tan to
brown to gray. Some examples have fine white particles scattered throughout the section.
Surface finish: Vessels bear a thick white to grayish-white burnished slip

over which there is decoration in polished red paint.
Vessel Forms: This is a very small category. The one rim is of a vertical
wall bowl with direct rounded rim; on the exterior there is an encircling pre-slip groove
1 cm. below the rim. Polished red paint fills the groove and there is red painted decoration
on the wall below it. All body sherds are from curved or flaring wall bowls, most with
encircling bands of red paint; one has an encircling ridge covered with red paint. One
example is of a curved wall bowl with vertical fluting on the exterior; red paint covers
the wall exterior.
Postclassic, Colonial, and Modern Pottery
Total: 71 sherds
Discussion: This category consists of a very small quantity of sherds found
at or just below the surface level of the excavations, and one restorable jar which is
probably intrusive into Pit #3.
Postclassic Tohil Plumbate Ware

The Postclasslc is represented by one rim and body sherd (not from the same
vessel) of Tohil Plumbate Ware. The paste is very fine in texture, hard-fired, and
medium gray in color. There is an over-all lustrous slip which grades in color from
orange to gray. The rim Is from a small jar with slightly outcurving neck to direct
thinned rim. The body sherd Is also from a jar and shows pre-slip curvilinear grooving.
73
Colonial and Modern Pottery

There are several examples of glazed (Totonicapan?) pottery, and one jar
neck sherd which may be of modern Chinautla white ware.
One restorable jar (Fig. lib) probably represents an intrusive cache or
offering in Pit #3, interred in comparatively recent times. The paste is medium-coarse,
soft and friable, and very sandy in consistency. The paste color is light pinkish-brown
to brown. The surface is unslipped and unpolished, the same color as the paste, with
large black firing clouds. The jar has a globular body, very thin-walled, with very low
flaring neck to direct flattish rim. Placed just above the jar shoulder are two opposite
vertical loop handles.

Unidentified Wares
Total: 9 sherds
A few sherds remainunidentified, either on the basis of paste and surface
finish or by being unusual in vessel form. All examples come from the Early Classic
levels of the excavations, but of course may be of earlier date.
There are two rim sherds of a medium-coarse, light reddish-brown paste.

One is unslipped, while the other has an all-over burnished slip the same color as the
paste. Both are from deep bowls with thick vertical or flaring wall. One has a direct
rounded rim with deep encircling groove on the interior 1. 5 cm. below the rim. On the
other the rim on the interior rounds to the top directly from the wall; on the exterior the
rim curves outward from the wall to terminate in a thinned, sharp, exaggerated outer
lip.
Two rims are of medium to coarse sandy pinkish paste, and were either
unslipped or have lost the slip through weathering. Both examples are from shallow
bowls with very widely flaring rim to a thinned lip, or rounded upper lip and sharp lower
lip.
There are a few small body sherds of fine gray to black paste, or medium
texture brownish paste; these are all-over slipped white to grayish and are well-polished.
74
Pottery Artifacts
Total: 31 sherds
The pottery artifacts from the excavations consist of fragments of human
figurines, animal figures, whistles and flutes, cut sherds, and flat rectangular slabs.
I. Human Figurines.
1. One fragment of a small solid human figurine head (Fig. 20c). Paste is
medium textured, hard-fired, reddish-brown; the surface is well smoothed, unslipped,
and unpolished. The eye is fashioned by two opposite horizontal jabs, the displaced clay
leaving a raised "pupil" at the center. There is a small finger-pinched nose and the
hair is represented by a smooth finger-pinched edge around the head. This fragment was
recovered from the Preclassic level of the excavations.
2. Two solid body fragments, probably representing the shoulder and upper
arm (Fig. 20a, b). Paste is medium textured, hard-fired, brown with black firing clouds.
The surface is well smoothed but left unslipped and unpolished. Preclassic.
3. One fragment of a solid torso, flat at the back and rounded over the front
(Fig. 20d). Paste is medium textured, hard-fired, brown at the edges with thick light
gray core. Surface is slipped specular hematite red and burnished. Preclassic .
4. Hand and arm fragments from a hollow figure. Paste is medium textured,
hard-fired, dull orange in color. Surface is well smoothed but unslipped and unpolished.
The arm is short, thick and stubby, with three modeled fingers suggesting a hand or paw
with a modeled wrist band (Fig. 20g). Preclassic ?
II. Animal Figures.

1. Solid animal effigy head (Fig. 20f). Paste is medium textured, hard-fired,
pinkish-orange at the edges with a thick light bluish-gray core. The surface is smoothed
and shows traces of fugitive white paint. The head is crudely modeled to show an elongated
animal head with wide, flat upturned snout. The ears are pointed, formed by a V-shaped
cut at the top of the head. The eyes are two appliqued flat disks. Early Classic.
2. Thick cylindrical solid column suggesting an animal foot (Fig. 20h). The
column is slightly curving from a flat base. Paste is medium coarse, sandy, pinkish at
the edges with a thick gray core. There is no slip or polish. Early Classic.
III. Pottery whistles, flutes, etc.
1. Mouthpiece of a double-chambered whistle (Fig. 20m). The paste is
medium fine, hard-fired, light pinkish-brown throughout. The surface is smoothed, the
75
same color as the paste with dark gray firing clouds, and with traces of thick white paint.
The mouthpiece is tubular, 6 cm. in length, the tube expanding slightly to its division into
two adjacent hollow bulbous resonating chambers. At the top of the whistle, at the junction
of the two hollow chambers, is a bird-head effigy. These double whistles are known from
the Las Charcas phase at Kaminaljuyu (Shook, field notes). Although recovered from the
upper levels of the excavations (undoubtedly occuring in mixed fill of the construction), the
fragment is certainly of Preclassic date.
2. Five fragments of flutes (Fig. 20i-1, n). Paste is medium to fine textured,
hard-fired, pinkish at the edges with a light gray core. The surface is smoothed, the
same color as the paste except for two fragments which show traces of white paint. The
flute is tubular, consisting of a linear series of segmented resonating chambers similar
to one reported by Shook from the department of Quezaltenango (Boggs 1974: Fig. 4). One
mouthpiece section shows a rudimentary appliqued bird head on the first bulbous chamber.
The "coffee bean" eye of the bird is an oval strip of clay with horizontal slit through the
center. The beak, now broken, protruded between the eyes, and just below it is a small
appliqued round clay pellet. Early Classic or later.
3. One tubular mouthpiece from a whistle. Paste is medium textured, hardfired, dark brown; the surface is unslipped and unpolished. Chronology uncertain.
4. One fragment of a round clay pellet, probably from a rattle. The paste
Is fine, hard-fired, brown. There is no slip or polish. Early Classic or earlier.
IV. Cut sherds.

1. One cut sherd is from the body of a thick-walled jar (Fig. 20o). The
paste is medium-textured, pinkish-orange, with fine sand temper. The surface on the
Interior is cursively smoothed, the exterior smodthed but unslipped and unpolished. The
shape is roughly oval and reflects the curvature of the globular jar body. No later than
Early Classic.
2. Three cut sherd disks from thin-walled vessels (Fig. 20p-r). All are
circular, from 3 to 4 cm. in diameter. One is of fine brown paste and is from a jar
which was slipped dark brown on exterior and polished. One is of fine light pink paste
with light gray core, and is from a bowl slipped white and polished on interior and exterior.
The third is from an Esperanza Flesh Ware jar. The paste is medium textured, pinkish
to gray, with abundant pumice particles. Surface color is gray. This sherd is certainly
Early Classic; the date of the other two is uncertain but no later than Early Classic.
V. Rectangular clay slabs.
Two fragments are of very flat, thin (. 6 to .8 cm.) clay rectangular slabs;
one has a width of 5 cm. (Fig. 20u), the other is broken. One is of medium-coarse
76
sandy brown paste, unslipped, and cursively smoothed. Possibly these are portions of
bases which supported modeled clay animal figures as Shook noted at Kaminaljuyu.
Chronology uncertain.
VI. Unidentified fragments.
There are seven miscellaneous fragments which come from unrecognized
clay artifacts or vessels (Fig. 20e, t, v).
Miscellaneous Ceramics Recovered from the Site Area

The first lot of vessels and sherds described below were recovered by workers
while digging for construction purposes on Finca Santa Marta, San Andres Semetabaj,
and were donated or loaned to the Project for study. The samples ranged from Late
Preclassic to Early Classic in date. The second lot came from a refuse pit discovered
by workers on Finca Santa Marta after the Project excavations were completed. The
contents of the pit were removed and from it a selected sample was loaned to the Project
for comparison with the wares from the excavations. The pit clearly is Preclassic in
date but it is evident that some mixing has occurred (probably from surface scatter),
and that only the larger, better preserved, and more interesting specimens were saved.
As such, the refuse pit is of reduced value for chronological association.
Not included is Lot #23 which is held apart as a special sample, being
described under the section on Protoclassic Ceramic Wares.
I. Whole vessels and selected sherds from the site area.
1. Small tecomate (Fig. lie). The body is globular with direct, slightly
thinned, rounded rim. Paste is of medium texture, gray-brown to dark gray, with
abundant white particles. Vessel is slipped dark brown on the exterior and low burnished.
The exterior has red painted broad-line zoned curvilinear designs, the red lines outlined
by incising. The red painted areas are more highly polished than the unpainted areas.
This vessel was found about 500 mts. west of Str. 4, next to a small spring-fed brook.
Preclassic.
2. Small flaring-wall bowl with direct rounded rim (Fig. lic). The base is
flat with three small solid nubbin feet around the edge. The paste is fine textured,
medium brown. The vessel is all-over slipped black and well polished. The exterior,
though somewhat weathered, shows lighter patches or clouds of orange-brown color,
suggesting negative resist painting. Found in association with the small tecomate
described above. Preclassic.
3. One large body sherd similar to (2) except the vessel is larger, the wall
thinner, and there is no evidence of vessel supports. There is an all-over well-polished
77
black slip with patches and clouds of white, suggesting negative painting. Found in
association with the small tecomate described above. Preclassic.
4. One body sherd of a scored censor cover. The scored underside is
concave, while the top is flat; at the top edge there apparently was a strap handle which
arched over the censor cover. Preclassic.
5. Deep bowl with thick, flaring wall to direct rounded rim (Fig. 11f).
The base is flat from a rounded wall-base junction. The paste is very coarse, pinkish
at the edges with thick gray core, showing abundant and conspicuous white particles and
large (up to .7 cm. in diameter) ferruginous inclusions. Vessel bears an all-over thin,
dull red slip which is only cursively burnished, and which weathers easily. This vessel
was found as a cache with obsidian blades, rotted bones, a very large body sherd of
Esperanza Flesh Ware, and a small red-slipped jar body sherd similar to the ware of the
bowl. Early Classic.
6. Three rim sherds of deep bowls similar to (5), the wall being straightflaring to an interiorly beveled rim. The paste is coarse, light brown to gray from firing,
with abundant coarse sandy particles. One example has a finger depressed encircling
groove on the rim bevel; another has an all-over dull red slip which is cursively burnished.
End of Late Preclassic or beginning of Early Classic.
7. One rim of a vessel similar in paste to (6). The wall is outcurving at the
top to a direct rounded rim. A wide shallow groove encircles the wall interior 1 cm.
below the rim. End of Late Preclassic or beginning of Early Classic.
8. One large rim sherd of a small simple silhouette bowl (12 cm. in diameter)
of paste similar to (6). The wall curves from the rounded base to a direct thinned rim.
The bowl is crudely fashioned, unslipped and unpolished, the exterior showing uneven
finger-pressed manufacture. Early Classic (?)
9. Three body sherds similar in paste to (6). One is from a curved wall
bowl or jar; on the exterior there is evidence of a wide encircling appliqued band of
raised clay disks bearing a circular impression (perhaps reed-punched) at the center.
The second body sherd has a dull orange-red lightly burnished slip on the exterior. The
third example is a portion of a curved strap handle, probably from a jar. Probably
Early Classic.
10. Jar or deep globular bowl with flaring rim (Fig. ld). The rim flares
directly from the rounded body to a sharp lip. The paste is medium coarse. Paste color
is pinkish brown to a gray core, with abundant small conspicuous white particles and
occasional ferruginous inclusions. Vessel is all-over very casually smoothed but left
unslipped and unburnished. Found about 200 mts. west of Str. 4. End of Preclassic or
beginning of Early Classic.
78
11. Large sherds of a bowl similar in form to (10) but not as deep. The wall
to
a
flaring rim with a "pie crust" edge; a very shallow groove encircles the rim
curves
on the interior. The paste grades from pinkish-tan to gray, with abundant tiny particles
and occasional small ferruginous inclusions. The vessel is well smoothed on interior and
exterior, and there are traces of an all-over thin orange burnished slip. End of
Preclassic ?
12. One sherd of a Tiquisate Ware simple silhouette bowl (Fig. lOw). The
wall is very slightly curving to a direct rounded rim. The paste is medium textured, or
ruddy color with numerous small ferruginous inclusions. There is an all-over burnished
cream-colored slip with traces of orange flushes. Early Classic.
13. Large sherd of a Peten Polychrome basal flange bowl, Tzakol phase
(Fig. lOu). From the flange the wall is straight-flaring to a direct rounded rim. Below
the flange the base is rounded, probably with a ring-stand support. The paste is mediumfine, dull orange in color. There are traces of an all-over light orange underslip with
a polished orange secondary slip. The upper surface of the flange is painted black, and
there is decoration in red and black on the wall exterior, but the sherd is too weathered
to discern more than faint traces of color. Early Classic.
14. Five large sherds of a deep cylindrical bowl with wide-flaring rim. The
wall is thick (1. 2 cm.), vertical to a sharp junction with the flaring rim. The rim edge
is missing. Paste is medium in texture, brick red with fine sand and large ferruginous
particles. The exterior bears a thin cream-colored slip which is low burnished; the
interior is unslipped and unburnished. Around the wall on the exterior are shallow fingerwide pre-slip vertical grooves about 4. 5 cm. apart which terminate at an encircling thick,
rounded ridge at the junction with the flaring rim. Found just west of Str. 12. End of
Preclassic ?
15. Fragmentary pottery censor of unique form and construction (Fig. 12a,
consists of a base portion that is virtually square in plan, having a depth of
It
b; 19q-t).
about 5. 5 cm., like an open tray. The exterior is made up of a rectangular basal
molding, a sunken zone, and an upper rectangular molding. Within the tray in each
corner is a hollow circular tube or column rising from the floor to join the base of another
tray-like square, each column bearing a seated human figure facing outward. The legs
of the figure rest on the rim of the lower tray, the hands on his chest. The face shows
an open mouth with teeth and there is a curl on each cheek suggesting the curled ends of
a handlebar moustache. There are two large ear plugs and a scroll-like element on
either side of the face. The face suggests that it was mold-made, the other elements
being modeled and appliqued. At the center of the lower tray, surrounded by the four
columns, is a human bust with arms and head. This figure (or god?) has its hands
fingertips to fingertips, in praying position. The face is broken off and missing.
The upper tray is of the same form as the lower one but is slightly deeper
(7 cm. in depth). It also has a rectangular basal molding, a sunken panel, and upper
rectangular molding. Each corner of the tray carries a seated monkey, its tail curled
79
up to the sunken panel on the side of the tray, the hands on either side of the head as if
suffering from a headache, or in "hear no evil" position. The head projects 3 cm. above
the top of the tray. The interior of the upper tray is heavily smoke blackened from
burning in presumed service as a censor.
The paste is coarse, pinkish-red, containing ferruginous, quartz-like and
pumice particles, and probably some mica. The exterior is unslipped, cursively
smoothed but unpolished. All the exterior of the lower and upper trays and interior of the
upper tray bore fugitive white paint. The human and monkey effigies bear traces of
fugitive red and yellow paint over the white.
These fragments were a casual find near a spring about 2 kms. southeast of
Semetabaj on the Rio Chicasanrres. With the lot came a fragment of a simple silhouette
bowl with pedestal base, apparently of the same ware as the censor. Although the
chronological placement of the lot is uncertain, it may be towards the end of the Late
Classic, or even later, perhaps on the Tohil Plumbate horizon of the Early Postclassic.
16. In the same general area as the above, workmen also found what was
apparently a burial containing two red ware tripod jars of Tohil Plumbate form, with
jade beads. We were able to record one of the jars (Fig. 15f). This jar has three hollow
"cascabel" feet with rattles and a single slot vent on the outer face. All the exterior
has a low polished orange slip. Early Postclassic.
17. Red ware tripod bowl (Fig. 15e). Each foot is a hollow open-bottomed
cylinder bearing a modeled human effigy face. The bowl has a lightly sagging base and
a straight-flaring wall to an outflaring rim. There is a sharp basal molding, and
another molding just below the rim. An encircling band of circular disks or buttons occurs
just above the basal molding and between the upper molding and the rim. Total height:
13. 5 cm. Diameter at rim: 22 cm. Found just south of Str. 4. Early Classic.
18. A small, solid cylindrical stamp, purchased from one of the workmen
at Semetabaj (Fig. 20w). Probably Preclassic.
II. Refuse pit.
The majority of these sherds falls into wares familiar from the excavations,
the greatest number being of Glossy Orange Ware. All examples described below are of
Preclassic date unless noted otherwise.
A. Glossy Orange Ware. A large number of the sherds of this ware are from
restorable, nearly complete vessels. Total sherds in the sample: 36 rims, 14 bodies.
1. Open bowl with wall outcurving to a direct, slightly thickened,
flattish rim. The base is flat from a sharp-rounded wall-base junction with an encircling
groove just above it on the exterior (Fig. 11h). The bowl shows cloudy Usulutan resist
decoration.
80
2. Open bowl with flaring wall to a direct flattish rim which is slightly
thickened on the exterior. The wall-base junction is rounded to a flat base. On the
exterior there is an encircling groove just below the thickened rim, and below this are sets
of three to four bent lines (Fig. 11a). Cloudy Usulutan resist decoration is present.
3. Open bowl with wall outcurving to a direct rounded rim. The wallbase junction is sharp-rounded to a flat base. The wall exterior bears encircling
multiple grooves (Fig. 1lj), with black clouds of Usulutan resist decoration on the orange
surface.
4. One rim sherd of a bowl with straight-flaring wall thickening
towards the top to a direct flat rim. The base Is probably flat. There is no decoration.
5. There are several examples of flat everted rims from at least

The
wall
vessels.
four
portion is not present, but was probably flaring. Variations are
as follows:
a. Rim is 4 cm. wide; the lower edge is beveled. On the

upper surface there is a shallow encircling groove just before the outer edge of the rim,
and there is another just before the sharp-rounded junction with the wall interior.
b. Rim is 4 cm. wide and has four encircling shallow grooves

on the upper surface.
c. Rim is 5 cm. wide, with four encircling grooves on the

upper surface.
d. Rim is 5 cm. wide and has three encircling grooves on the

upper surface.
B. Semetabaj Brown Ware. Total: 3 rims, 20 bodies
1. Three rims and one neck sherd come from jars with flaring neck
and lip to shoulder strap handles. One has an exteriorly bolstered rim with a row of
punctates below the bolster, and has red paint on the neck Interior. The others are plain.
2. One body sherd is from a jar with strap handle from the middle of
the neck to the shoulder; the neck interior is painted red.
3. One very large strap handle (11 cm. wide) may be from a
Semetabaj Brown Ware jar.
81
C. Other wares.
1. There is one example of a coarse brown ware bowl with flaring
wall to direct thinned rim with sharp inner lip. The vessel is unslipped and unpolished.
On the wall exterior are deep vertical gouges, .8 to 1 cm. in width, applied in the wet
clay after smoothing. This ware is not recognized.
2. One Sacatepequez White Paste White Ware body sherd of a curved

wall bowl.
3. One polished black-brown body sherd from a jar with globular body.
4. One jar rim and one comal rim, probably Postclassic or later.
5. One Incomplete cylinder stamp (Fig. 1li).
6. One complete stemmed stamp, monkey design (Fig. 11g).
7. Five miscellaneous body sherds, unidentified.
82
References Cited
Boggs, S. H
[0
1974
Borhegyi, 'S. F.
1951
Notes on Pre-Columbian wind instruments from El Salvador.

Sonderduck aus Baessler-Archiv. Beitrage zur Volkerkunde, Band XXII.
A study of three-pronged incense burners from Guatemala and
adjacent areas. Carnegie Institute of Washington Notes on Middle
American Archaeology and Ethnology No. 101.
Brockington, D. L.
1967 The ceramic history of Santa Rose, Chiapas, Mexico. Papers of the
New World Archaeological Foundation No. 23.
Clarke, J. D.
1944
Kidder, A. V.
1954
The use of bored stones in Abyssinia. Man Vol. XLIX, No. 25.
Royal Anthropological Institute: London.
Miscellaneous archaeological specimens from Mesoamerica.

Carnegie Institute of Washington Notes on Middle American Archaeology
and Ethnology No. 117.
Kidder, A.V., J.D. Jennings, and E.M. Shook

1946
Excavations at Kaminaljuyu, Guatemala. Carnegie Institute of

Washington Publication 561.
Lothrop, S. K.
1933
Atitlan: an archaeological study of ancient remains on the borders of

Lake Atitlan, Guatemala. Carnegie Institute of Washington
Publication 444.
1936
Zacualpa: a study of ancient Quiche artifacts. Carnegie Institute of

Washington Publication 472.
Parsons, L.A.
1967
Bilbao, Guatemala. Milwaukee Public Museum Publications in

Anthropology No. 11.
Rands, R. L. and R. E. Smith

1965 Pottery of the Guatemalan Highlands. Handbook of Middle American
Indians, Volume 2.
83
Shook, E. M.
1941
Field Notes, Book 285, pp. 15-17.
1945
Field Notes, Book 287, p. 2-3a.
1947
Historia arqueologica del Puerto de San Jose, Guatemala. Antropologia

e Historia de Guatemala, Vol. I, No. 2.
1951
The present status of research on the Pre-Classic horizons in

Guatemala. In: Proceedings of the 29th International Congress of
Americanists, Volume 1, S. Tax (ed.). Chicago.
1970
Inventory of some Pre-Classic traits in the Highlands and Pacific

Guatemala and adjacent areas. Contributions of the University of
California Archaeological Research Facility No. 11.
Shook, E. M. and M. P. Hatch

in press The ceramics of El Balsamo.
in prep.
Excavations at Monte Alto, Guatemala
Shook, E.M. and A. V. Kidder

1951 Excavations at Nebaj, Guatemala. Carnegie Institute of Washington
Publication 594.
Wauchope, R.
1975
Zacualpa, El Quiche, Guatemala: an ancient provincial center of the

Highland Maya. Tulane University Middle America Research Institute
Publication 39.
85
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Figure 5
a-f: Stone artifacts. Scale: 1/3

a. Head of "mushroom" stone, re-used as grinder, hammer or anvil stone.
Lot. E-10.
b. Plain circular grinder or anvil stone. Lot. E-10.

C. Plain circular mortar. Lot. S-23.
d, e. Carved "doughnut" or digging stick weights. Lots. E-10 and S-23.
fe Plain stone cup or vessel with small circular depression in center of base.
Lot. E-10.
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98
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100
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F igure 6
102
b. Semetabaj Brown-B
c. Semetabaj Brown-A
d. Semetabaj Brown-G
e. Semetabaj Brown-D
f. Semetabaj Brown-E
h. Semetabaj Brown-C
i. Semetabaj Brown-E
Semetabaj Brown-E
k. Semetabaj Brown-E
Semetabaj Brown-F
Glossy Orange-D
Glossy Orange-C
P. Glossy Orange-A
q. Glossy Orange-A
r. Glossy Orange-A
n,
PC
4)
w
09
.W-)
0*
;Too
104
Figure 7
Fine-Incised Black-Brown-C
Fine-Incised Black-Brown-bowl body sherd
Fine-Incised Black-Brown-B
Fine-Incised Black-Brown-D
Fine Black-Brown-A
Fine Black-Brown-A
Fine Black-Brown-C
Fine Black-Brown-D
Utatlan Ware bowl
Utatlan Ware bowl
Fine Red-C
Fine Red-D
Sacatepequez White Paste White-B
Sacatepequez-Providencia Red Ware bowl
sacatepequez Polished Red on Unpolished Buff Ware jar
Kaminaljuyu
b. Kaminaljuyu
c. Kaminaljuyu
d.D Kaminaljuyu
a.
e.
f.
gh.
i.
i.
k.
1.
m.
n,
O.
(I-
,;
t*-I.
4a
r
a
Figure 7 (continued)
106
P. Protoclassic Glossy Orange tetrapod

q. Protoclassic Streaky Brown-C
r. Protoclassic Red on Buff-B
Protoclassic Streaky Brown-A

t. Protoclassic Pumiceous Red Paste jar
S.
.4..
PC
108
Figure 8
a. Protoclassic Red on Buff-A
b. Santa Marta Brown-B
c. Santa Marta Brown-B
d. Santa Marta Brown-B
;0
01
.n
.n.
.n
\\
i~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
II~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Eu~~~~~~~~~~~~I
w
09
!
/
I I,
I
I
/I/
,
,
.1I
I,
000---'
I
,
.1
.11
11
.,
,
,
.1
/,
(40.
00
;lo
110
e. Santa Marta Brown-A
f. Santa Marta Brown-C

9. Esperanza Flesh-C
h. Esperanza Flesh-A
1. Esperanza Flesh-A
i. Esperanza Flesh-B
k. Esperanza Flesh-B
1. E spe ranza F lesh- B bulbous foot
m. Esperanza Flesh-C
n. Esperanza Flesh-C
O. Esperanza Flesh-D
Pi Esperanza Flesh-D
q. Esperanza Flesh-E
PC)
I
I"v. I
D
112
FigaL e 9
Streaky Brown-A
b. Streaky Brown-B
c. Streaky Brown-B bulbous foot
d. Streaky Brown-C
e. Streaky Brown-B
f. Streaky Brown-D
9. Mahogany Brown-A
h. Graphite on ]Red-A
is Mahogany Brown-C
is Mahogany Brown-C
a.
\' X
l C.i
IF
I'I'
114
k. Mahogany Brown-B
1. Mahogany Brown-D
m. Mahogany Brown-C
n. Mahogany Brown-C
o. Mahogany Brown-C
p. Mahogany Brown-C
Figure 10
a. Red Paste, Type I-A
b. Red Paste, Type I-B
C. Red Paste, Type I-B
d. Red Paste, Type II-A
e. Red Paste, Type fl-A
f. Red Paste, Type II-B
g. Red Paste, Type II-D
h. Coarse Pink-B
i. Coarse Pink-C
J. Coarse Pink-A
k. Coarse Pink-C
1. Coarse Pink-C
m. Coarse Pink-A
n. Coarse Pink-A
0. Coarse Pink-D
P. Coarse Pink-D
I.,
I
I
*no
wo
I,
I
I
'U
118
Figure 1 0 (continued)
q. Creamy Brown Slipped-C
r. Polished Black-Brown-C
S. Creamy Brown Slipped-B
t. Creamy Brown Slipped-A
U. Peten Polychrome bowl (Lot S-24)
V. Creamy Brown Slipped-A
w. Tiquisate Ware bowl (Lot S-24)
39
c)
0-0
w:
04
a-.
120
Figure 11
a. Glossy Orange Ware bowl sherds from refuse pit

b. Colonial or modern jar
c. Miscellaneous, black ware bowl (Lot E-10)
d. Miscellaneous, jar or deep bowl (Lot S-24)
e. Miscellaneous, small tecomate (Lot E-10)
AI
122
f.
g.
h.
i.
j.
Miscellaneous, coarse ware bowl (Lot S-24a)

Monkey stamp from refuse pit
Glossy Orange Ware bowl sherds from refuse pit
Cylindrical stamp from refuse pit
Glossy Orange Ware bowl sherds from refuse pit
PC)
*_-
IMY
~Q
Il
~ ~ a)
Cd
CI)
125
Figure 13
a. Looking northwest from town of San Andres Semetabaj to
archaeological mound, Str. 7, in background. Photo courtesy of Frank June, 1942.
b. Archaeological site of Semetabaj. Photo taken in 1937 from

Str. 12, looking south, showing from left to right the west end of Str. 11, the large
mound Str. 7, with the modern town behind, Strs. 6, 8 and edge of Str. 10. Note
modern contour cultivation done by hand using wide hoe, extending to the very top of
the ancient mounds.
c. View from the same position as b, looking south southwest over
Str. 10 in foreground, and Strs. 8 and 6 at left. The small Str. 9 lies between Str. 10
and the modern cemetery, while Str. 5 is partly cut away at the east end of the cemetery,
and the largest mound, Str. 4, rises under the dense cluster of cypress and pine trees
beyond the cemetery.
t1rv- 7
Ie
Brg. G
4e- a-ts
s+kg
5-R
*irk
*:,
cC
FIGURE 13
Figure 14
a. Fragment of burned adobe showing impressions of grass, corn

leaves (?), and wood stems. Max. width 9 cm. Lot S-21.
b. Fragment of pedestal base sculpture, of coarse, light-colored

volcanic stone. Horizontal band represents platform above which sat the figure. Stone
bore all-over red paint. Max. width 20 cm. Lot S-14.
c. Fragment of mottled greenstone celt. Max. height 6 cm. Lot E-10.
d. Obsidian flake blades, grainy texture. See text for sizes.

Provenience: various.
e. Obsidian cores, grainy texture. See text for sizes. Provenience:
various.
f. Obsidian scrapers, grainy texture. Lower specimen, 5.5 cm.

height. Lots S-20, S-23.
g. Obsidian flake blades, dark green type. All from Early Classic
deposits. Lots S-14, 14b, 14d, 15c, 17a.
h. Obsidian flake blades, clear glassy texture. Lots S-19d, S-12a.

i. Legless metate, coarse gray volcanic stone. Width 21 cm.,
thickness 7 cm. Lot S-14.
j. Small mortar, coarse gray volcanic stone. Max. diameter 8.8 cm.
Lot-S-23. Same as Figure 5c.
k. Metate, re-used as mortar. Coarse gray volcanic stone. Max.

width 18 cm. Lot S-17c.
l. Plain, circular grinder or anvil stone, coarse gray volcanic stone.
Diameter 12.6 cm. Lot E-10. Same as Figure 5b.
m. Small grindstone. Lot S-19c.
-.'7777'
Figure 15
a-d. Perforated "doughnut" stones or digging stick weights.

a. Carved exterior. Coarse gray volcanic stone. Same as Figure 5e
Lot S-23.
b. Plain, complete "doughnut" stone. Light gray pumiceous volcanic

stone. Max. diameter 14.0 cm., height 11.0 cm. Lot S-23.
c, d. Carved exterior and biconically perforated interior. Coarse,
gray volcanic stone. Same as Figure 5d. Lot E-10.
e. Redware tripod bowl with hollow open effigy feet. Height 13. 5 cm.
Diameter at orifice 22 cm. Lot E-10.
f. Early Post Classic tripod jar with hollow bulbous rattle feet.
Diameter at orifice 9 cm., diameter at shoulder 15 cm., height to shoulder 7. 5 cm.,
to neck 11.5 cm., to rim 15.0 cm.
e
f
FIGURE 15
Figure 16
b. Semetabaj Brown-E
C. Semetabaj Brown-E
d. Semetabaj Brown-E
e. Semetabaj Brown-B
f. Semetabaj Brown-E
g. Semetabaj Brown-C
h. Semetabaj Brown-E
i. Semetabaj Brown-E
je Semetabaj Brown-E
k. Semetabaj Brown-C
FIGURE 16
Semetabaj Brown-F
n. Semetabaj Brown-F
Semetabaj Brown-D
P. Glossy Orange-A
q. Glossy Orange-A
r. Glossy Orange-B
s. Glossy Orange-A
t. Glossy Orange-B
u. Glossy Orange-D
m.
0.
V.
w.
x.
Glossy Orange-A
Glossy Orange-A
Glossy Orange-B
Figure 17
a. Glossy Black-B
b. Glossy Black-C
c.
d.
e.
f.
g.
h.
i.
j.
k.
1.
m.
n.
o.
p.
q.
r.
s.
t.
u.
v.
w.
x.
y.
z.
aa.
bb.
cc.
dd.
ee.
ff.
gg.
hh.
ii.
jj.
kk.
11.
Glossy
Glossy
Glossy
Glossy
Glossy
Glossy
Black-D
Black-A
Black-C
Black-C
Black-D
Black-A
Glossy Black-C
Glossy Black-D
Early Preclassic jar body sherd (Cuadros or Jocotal Phase)
Early Preclassic thin-walled tecomate (Ocos Phase?)
Early Preclassic curved wall bowl (Cuadros or Jocotal Phase?)
Miscellaneous Preclassic Black-Brown Wares-A
Miscellaneous Preclassic Black-Brown Wares-A
Miscellaneous Preclassic Black-Brown Wares-C
Miscellaneous Preclassic Black-Brown Wares-D
Sacatepequez Polished Red on Unpolished Buff Ware jar sherd
Utatlan Ware bowl
Early Classic Polished Black-Brown-C
Early Classic Polished Black-Brown-D
Early Classic Graphite on Red-A
Creamy Brown Slipped Ware (cover?)
Protoclassic Glossy Orange tetrapod
Protoclassic Glossy Orange bowl
Protoclassic Glossy Orange (tetrapod?)
Protoclassic Glossy Orange (tetrapod?)
Protoclassic Glossy Orange bowl
Protoclassic Streaky Brown-B
Protoclassic Streaky Brown-A
Protoclassic Streaky Brown-C
Protoclassic Streaky Brown-B
Protoclassic Streaky Brown-vessel support
Protoclassic Streaky Brown-vessel support
Protoclassic Red on Buff-A
Protoclassic Red on Buff-B
Protoclassic Red on Buff-B
Protoclassic Pumiceous Red Paste Ware jar
FIGURE 17
Figure 18
a.
b.
c.
d.
e.
f.
g.
h.
i.
j.
k.
1.
m.
n.
o.
p.
q.
r.
s.
t.
u.
v.
w.
x.
y.
z.
aa.
Santa Marta Brown-B

Mahogany Brown-A
Mahogany Brown-A
Santa Marta Brown-B

Santa Marta Brown-B
Mahogany Brown-A
Santa Marta Brown-B
Santa Marta Brown-B
Mahogany Brown-A
Mahogany Brown-B
Mahogany Brown-C
Mahogany Brown-C
Mahogany Brown-C (sherd position inverted)
Mahogany Brown-B
Mahogany Brown-C
Mahogany Brown-C
Mahogany Brown-B
Mahogany Brown-C
Mahogany Brown-C
Esperanza Flesh-A
Esperanza Flesh-B
Esperanza Flesh-C
Esperanza Flesh-A
Esperanza Flesh-E
Esperanza Flesh-B
Esperanza Flesh-C
Esperanza Flesh-A
bb. Esperanza Flesh-B
cc. Esperanza Flesh-D
FIGIURE 18
Figure 19
a. Streaky Brown-B
b. Streaky Brown-B
c. Streaky Brown-B
d. Streaky Brown-B
e. Streaky Brown-B
f. Streaky Brown-B
g. Streaky Brown-C
h. Streaky Brown-C
i. Streaky Brown-C
j. Streaky Brown-D
k. Streaky Brown-C
1. Creamy Brown Slipped-C
m. Creamy Brown Slipped-A
n. Creamy Brown Slipped-A
o. Creamy Brown Slipped-C
p. Creamy Brown Slipped-A
q-t. Miscellaneous pottery censor from site area
FIGURE
19
Figure 20
Pottery artifacts
a.
b.
c.
d.
e.
f.
g.
h.
i.
j.
k.
1.
m.
n.
o.
p.
q.
r.
s.
t.
u.
v.
w.
Human figurine body fragment

Human figurine body fragment
Human figurine head
Human figurine torso
Miscellaneous pottery artifact
Animal effigy head
Figurine hand or paw
Solid column (animal foot?)
Fragment of flute
Fragment of flute
Fragment of flute
Fragment of flute
Mouthpiece of a double-chambered whistle
Fragment of flute
Cut sherd
Cut sherd
Cut sherd
Cut sherd
Burned adobe with stem impressions
Miscellaneous, clay fragment
Rectangular clay slab
Miscellaneous, clay fragment
Miscellaneous, solid cylindrical stamp
142
Addendum
Semetabaj Radiocarbon Age Determinations

Five charcoal samples from the Semetabaj excavations were submitted for
C-14 Analysis in September 1978 to: Krueger Enterprises, Inc., Geochron Laboratories,
24 Blackstone St., Cambridge, MA 02139. The following results received April 1979
were not known to the authors during the compilation of the Semetabaj report in July 1978.
However, the C-14 dates appear to conform well with the proposed dating of the site's
occupation.
1. Sample No. GX-5856, wood charcoal from a burned main post in the lower
of two adobe constructed platforms, Fig. 4, Pit 8. Reserve sample of charcoal held in
Shook Laboratory, Antigua, Guatemala.
C-14 years B. P. 110 A.D. + 120
Age: 1840 + 120
(Late Pre-Classic)
2. Sample No. GX-5857, wood charcoal from a burned main post in the upper
of two adobe constructed platforms, Fig. 4, Pit 8. Reserve sample held in Shook
Laboratory, Antigua, Guatemala.
C-14 years B. P.
85 A.D. + 130
Age: 1865 + 130
(Late Pre-Classic)
3. Sample No. GX-5858, charred avocado seeds (Persea americana) from
in
Pit 7, Level S-171, Fig. 4.
fill
plaza
C-14 years B. P.
10 B.C. + 135
Age: 1960 + 135
(Late Pre-Classic)
4. Sampte No. GX-5859, charcoal fragment from the plaza fill in Pit 2,
Level S-12i-k, Fig. 3.
Age: 2660 + 175 C-14 years B. P. 710 B. C. + 175
(Middle Pre-Classic)
5. Sample No. GX-5860, wood charcoal fragments from heavily burned area
in intrusive ancient pit and around large, broken pottery tecomate, Fig. 3, Pit 4, Level
S-14e.
Age: 1485 + 140
C-14 years B. P. 465 A.D. + 140

(Early Classic)

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7

RUINS OF SEMETABAJ, DEPT. SOLOLA, GUATEMALA

Founder of the John Lloyd Stephens Foundation

The following archaeological report results from financial support provided

"Semetabaj mounds belong to a well-recognized type found in the highlands of

The presence of Sacatepequez White Paste White, Utatlan, Glossy Black-Brown

fifteen archaeological mounds In Semetabaj (Fig. 1). All bear

The natural stratigraphy of Semetabaj consists of a thin 20-40 cm. surface

Equally incomprehensible is the total absence of any evidence of habitation at

The presence of Late Preclassic Miraflores Phase ceramics, questionably

Semetabaj as a flourishing community in Middle Preclassic times carried on

Archaeological material recovered:

2. Celts. One fragment came from the surface (Lot E-10)

d. Metates and Manos. A few fragments of metates and manos came

f. Perforated "doughnut" stones. These artifacts, common in the

h. Miscellaneous. One small heavy-walled vessel or cup (Lot E-10,

The Early Classic period at Semetabaj witnesses a new vigour in construction

Early Preclassic Wares

Total: 1 rim, 1 body

Total: 1 rim, 1 body

The wall thickness

Semetabaj Brown Ware

Total: 18 rims, 9 bodies

1. An incised line encircles the flaring wall on exterior 1 cm. below

3. Wall exterior bears two or more encircling rows of punctates.

5. Wall is thin, vertical (rim form is uncertain), all-over slipped

6. Wall is thick, vertical, with rounded wall-base junction to a flat

Total: 7 rims, 3 bodies

1. Two or more parallel encircling rows of punctates just above the

Total: 12 rims, 72 bodies

Total: 61 rims, 15 bodies

Total: 6 rims, 6 bodies.

Total: 283 bodies

Total: 258 sherds

1. One or more encircling grooves on the face of the rim bevel

(Fig. 6t,u; 16r, t).

Total: 23 rims, 2 bodies

3. Small jars with vertical neck to a direct rounded rim. One

vessel support in this ware was recovered from the excavations.

Total: 164 bodies

Glossy Black Ware

Discussion: This ware resembles Glossy Orange Ware in surface finish,

Total: 3 rims, 1 body

Total: 5 rims, 1 body

Total: 5 rims, 2 bodies

Total: 169 sherds

Paste: Fine to medium-fine in texture. Color is usually reddish-brown but

Trotal: 2 rims, 1 body

Miscellaneous Preclassic Black-Brown Wares

Discussion: This category contains the remaining sample of the polished

Paste: Generally fine, but occasionally ranging to medium in texture. Color

Total: 6 rims, 2 bodies

Total: 1 rim, 3 bodies

insloping wall from

Total: 1 rim, 31 bodies

Surface finish: Vessels bear an all-over thick reddish-orange slip which is

Total: 1 rim, 1 body

Total: 3 rims, 6 bodies