Extension of Import Restrictions on Archaeological Material and Imposition of Import Restrictions on Ecclesiastical Ethnological Material From El Salvador

Published date18 March 2020
Citation85 FR 15363
Record Number2020-05694
SectionRules and Regulations
CourtU.s. Customs And Border Protection
Federal Register, Volume 85 Issue 53 (Wednesday, March 18, 2020)
[Federal Register Volume 85, Number 53 (Wednesday, March 18, 2020)]
                [Rules and Regulations]
                [Pages 15363-15374]
                From the Federal Register Online via the Government Publishing Office [www.gpo.gov]
                [FR Doc No: 2020-05694]
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                DEPARTMENT OF HOMELAND SECURITY
                U.S. Customs and Border Protection
                DEPARTMENT OF THE TREASURY
                19 CFR Part 12
                [CBP Dec. 20-04]
                RIN 1515-AE53
                Extension of Import Restrictions on Archaeological Material and
                Imposition of Import Restrictions on Ecclesiastical Ethnological
                Material From El Salvador
                AGENCY: U.S. Customs and Border Protection, Department of Homeland
                Security; Department of the Treasury.
                ACTION: Final rule.
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                SUMMARY: This document amends the U.S. Customs and Border Protection
                (CBP) regulations to reflect an extension of import restrictions on
                certain archaeological material from the Republic of El Salvador (El
                Salvador). The document further amends the Designated List contained in
                T.D. 95-20, which describes the types of articles to which the import
                restrictions apply, to reflect the addition of certain ecclesiastical
                ethnological material. The import restrictions, which were last
                extended by CBP Dec. 15-05, were due to expire on March 8, 2020, unless
                extended. The Assistant Secretary for Educational and Cultural Affairs,
                United States Department of State, has determined that conditions
                continue to warrant the imposition of import restrictions on
                archeological material from El Salvador. Additionally, the Assistant
                Secretary for Educational and Cultural Affairs, United States
                Department of State, has made the requisite determinations for adding
                import restrictions on certain categories of ecclesiastical
                ethnological material from the Colonial period through the first half
                of the twentieth century. On March 2, 2020, the Government of the
                United States and the Government of El Salvador entered into a
                Memorandum of Understanding (MOU) that supersedes the existing
                agreement that first became effective on March 8, 1995. Pursuant to the
                new MOU, the import restrictions for archaeological material will
                remain in effect for an additional five years until March 2, 2025. The
                new MOU further covers import restrictions on ecclesiastical
                ethnological material until March 2, 2025.
                DATES: Effective March 16, 2020.
                FOR FURTHER INFORMATION CONTACT: For legal aspects, Lisa L. Burley,
                Chief,
                [[Page 15364]]
                Cargo Security, Carriers and Restricted Merchandise Branch, Regulations
                and Rulings, Office of Trade, (202) 325-0300,
                [email protected]. For operational aspects, Genevieve S.
                Dozier, Management and Program Analyst, Commercial Targeting and
                Analysis Center, Trade Policy and Programs, Office of Trade, (202) 945-
                2952, [email protected].
                SUPPLEMENTARY INFORMATION:
                Background
                 Pursuant to the Convention on Cultural Property Implementation Act,
                Public Law 97-446, 19 U.S.C. 2601 et seq. (hereinafter, ``the Cultural
                Property Implementation Act,'' or ``the Act''), which implements the
                1970 United Nations Educational, Scientific and Cultural Organization
                (UNESCO) Convention on the Means of Prohibiting and Preventing the
                Illicit Import, Export and Transfer of Ownership of Cultural Property
                (823 U.N.T.S. 231 (1972)), the United States entered into a bilateral
                agreement with the Republic of El Salvador (El Salvador) on March 8,
                1995, concerning the imposition of import restrictions on certain
                categories of archaeological material from El Salvador's Pre-Hispanic
                cultures and ranging in date from approximately 8000 B.C. to 1550 A.D.
                On March 10, 1995, the former U.S. Customs Service (now U.S. Customs
                and Border Protection (CBP)) published T.D. 95-20 in the Federal
                Register (60 FR 13352), which amended Sec. 12.104g(a) of title 19 of
                the Code of Federal Regulations (19 CFR 12.104g(a)) to reflect the
                imposition of these import restrictions and included a list designating
                the types of archaeological material covered by the restrictions.
                 Import restrictions listed at 19 CFR 12.104g(a) are effective for
                no more than five years beginning on the date on which the agreement
                enters into force with respect to the United States. This period may be
                extended for additional periods of not more than five years if it is
                determined that the factors which justified the initial agreement still
                pertain and no cause for suspension of the agreement exists. See 19 CFR
                12.104g(a).
                 Since the initial notice was published on March 10, 1995, the
                import restrictions were subsequently extended four (4) times. First,
                on March 9, 2000, following the exchange of diplomatic notes, the
                former U.S. Customs Service (now CBP), published T.D. 00-16 in the
                Federal Register (65 FR 12470) to extend the import restrictions for a
                period of five years to March 8, 2005. Second, on March 9, 2005,
                following the exchange of diplomatic notes, CBP published CBP Dec. 05-
                10 in the Federal Register (70 FR 11539) to extend the import
                restriction for an additional five-year period to March 8, 2010. Third,
                on March 8, 2010, following the exchange of diplomatic notes, CBP
                published CBP Dec. 10-01 in the Federal Register (75 FR 10411) to
                extend the import restriction for an additional period of five years to
                March 8, 2015. Fourth, on March 6, 2015, following the exchange of
                diplomatic notes, CBP published CBP Dec. 15-05 in the Federal Register
                (80 FR 12080) to reflect the extension of the import restrictions for
                an additional five-year period to March 8, 2020.
                 On June 5, 2019, the United States Department of State proposed in
                the Federal Register (84 FR 26174) to extend the Memorandum of
                Understanding (MOU) between the United States and El Salvador
                concerning the imposition of import restrictions on certain categories
                of archeological material from the Pre-Hispanic Cultures of El
                Salvador.
                 On November 7, 2019, after consultation with and recommendations by
                the Cultural Property Advisory Committee, the Assistant Secretary for
                Educational and Cultural Affairs, United States Department of State,
                determined that: (1) El Salvador's cultural heritage continues to be in
                jeopardy from pillage of Pre-Hispanic archeological resources and that
                the import restrictions should be extended for an additional five
                years; and (2) El Salvador's cultural heritage is in jeopardy from
                pillage of certain types of ecclesiastical ethnological material from
                the Colonial period through the first half of the twentieth century and
                import restrictions on such types of ecclesiastical ethnological
                material should be imposed.
                 On March 2, 2020, the Government of the United States and
                Government of El Salvador entered into a MOU, titled ``Memorandum of
                Understanding between the Government of the United States of America
                and the Government of the Republic of El Salvador Concerning the
                Imposition of Import Restrictions on Categories of Archaeological and
                Ethnological Material of the Republic of El Salvador.'' The new MOU
                supersedes the existing agreement that first became effective on March
                8, 1995. Pursuant to the new MOU, the import restrictions for
                archaeological material will remain in effect for an additional five
                years until March 2, 2025. The new MOU further covers import
                restrictions on certain categories of ecclesiastical ethnological
                material (from the Colonial period through the first half of the
                twentieth century ranging in date from approximately A.D. 1525 to 1950)
                until March 2, 2025.
                 Accordingly, CBP is amending 19 CFR 12.104g(a) to reflect the
                extension of the import restrictions, and the Designated List of
                cultural property described in T.D. 95-20 by adding certain categories
                of ecclesiastical ethnological material from El Salvador from the
                Colonial period through the first half of the twentieth century ranging
                in date from approximately A.D. 1525 to 1950, as set forth below. The
                restrictions on the importation of archaeological and ecclesiastical
                ethnological material will be in effect through March 2, 2025.
                Importation of such material from El Salvador will be restricted
                through that date unless the conditions set forth in 19 U.S.C. 2606 and
                19 CFR 12.104c are met.
                 The Designated List and additional information may also be found at
                the following website address: https://eca.state.gov/cultural-heritage-center/cultural-property-advisory-committee/current-import-restrictions
                by selecting the material for ``El Salvador.''
                Designated List of Archaeological and Ecclesiastical Ethnological
                Material of El Salvador
                 The Designated List contained in T.D. 95-20, which describes the
                types of articles to which the import restrictions apply, is amended to
                reflect the addition of certain ecclesiastical ethnological material to
                the Designated List. In order to clarify certain provisions of the
                Designated List contained in T.D. 95-20, the amendment also includes
                minor revisions to the language, organization, and numbering of the
                Designated List. For the reader's convenience, CBP is reproducing the
                Designated List contained in T.D. 95-20 in its entirety, with the
                changes, below.
                 The Designated List includes archaeological material from El
                Salvador ranging in date from approximately 8000 B.C. to A.D. 1550, and
                ecclesiastical ethnological material from El Salvador from the Colonial
                period through the first half of the twentieth century ranging in date
                from approximately A.D. 1525 to 1950.
                Categories of Material
                I. Archaeological Material
                 A. Figurines
                 B. Other Small Ceramic Artifacts
                 C. Ceramic Vessels
                 D. Ceramic Drums
                 E. Incense Burners
                 F. Mushroom Effigies
                 G. Stone Sculptures
                 H. Small Stone Artifacts
                 I. Metal Artifacts
                II. Ethnological Material
                [[Page 15365]]
                 A. Paintings
                 B. Sculptures
                 C. Furniture
                 D. Metalwork
                 E. Textiles
                 F. Documents and Manuscripts
                I. Archaeological Material
                 Archaeological material covered by the MOU includes material from
                El Salvador ranging in date from approximately 8000 B.C. to A.D. 1550.
                Examples of archaeological material covered by the MOU include, but are
                not limited to, the following objects:
                Simplified Chronology \1\
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                 \1\ This list of terms of time periods and their subdivisions
                contains some terms that overlap and are used to distinguish pivotal
                intervals in regional prehistory (these terms are: Protoclassic,
                Terminal Classic, and Protohistoric). Different references may vary
                slightly as to the beginning and end dates for the periods listed.
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                Archaic period: c. 8000-1700 B.C.
                Preclassic period: 1700 B.C.-A.D. 200
                 Early Preclassic: 1700-800 B.C.
                 Middle Preclassic: 800-400 B.C.
                 Late Preclassic: 400 B.C.-A.D. 200
                Classic period: 200 B.C.-A.D. 900
                 Protoclassic: 200 B.C.-A.D. 200
                 Early Classic: A.D. 200-600
                 Late Classic: A.D. 600-900
                 Terminal Classic: A.D. 800-900
                Postclassic period: A.D. 900-1524
                 Early Postclassic: A.D. 900-1200
                 Late Postclassic: A.D. 1200-1524
                 Protohistoric: c. A.D. 1400-1550
                A. Figurines
                1. Preclassic Figurines
                 Most are solid ceramic figurines representing women with broad
                torsos and thighs, and small or virtually flat breasts. These are
                portrayed in a sitting or standing position. The eyes and mouth were
                typically represented by jabbing small holes into the still wet clay
                (punctation), many times with two or three holes used to depict each
                eye. Although the bodies are crafted without much detail, elaborate
                coiffures are commonly shown.
                 a. Dating: Most Preclassic figurines date to the Late Preclassic
                (corresponding to the Chul and Caynac Ceramic Complexes of western El
                Salvador, and the Uapala Phase of eastern El Salvador).
                 b. Appearance: Often cream to white, but may also be red or brown
                (ranging from dark brown to tan). Usually of very fine textured clay.
                 c. Size: Most range between 4 in (10 cm) to 8 in (20 cm) in height.
                Examples smaller than about 4 in (10 cm) may be perforated for use as
                pendants. Rare figurines of 16 in (40 cm) or more in height have been
                reported.
                 d. Important Variants: Some of the larger figurines are hollow
                rather than solid. Very rare examples have movable arms, with sockets
                set into the shoulders and separate arm pieces that were actuated by
                means of strings. Some figurines depict women cradling infants. Whistle
                mechanisms are very rarely present. Painted designs in black or other
                colors are very rare on these figurines.
                 e. Formal Names: Bolinas figurines (Stanley H. Boggs, ``Pre-Maya
                Costumes and Coiffures'' in Americas 25(2): 19-24, Organization of
                American States, Washington, DC, United States (1973) (hereinafter,
                referred to as ``Boggs 1973a'')); Kulil, Xiquin, and Tat Complex
                figurines (Bruce H. Dahlin, ``Figurines'' in The Prehistory of
                Chalchuapa, El Salvador, Vol. 2, University of Pennsylvania Press,
                Philadelphia, Pennsylvania, United States (Robert A. Sharer ed. 1978)
                (hereinafter, referred to as ``Dahlin 1978'')); Quelepa Figurine Types
                1 and 2 (E. Wyllys Andrews, V., ``The Archaeology of Quelepa, EI
                Salvador'' in Middle American Research Institute 42, Tulane University,
                New Orleans, Louisiana, United States (1976) (hereinafter, referred to
                as ``Andrews 1976'')).
                2. Lepa Figurines
                 Most are solid ceramic figurines representing standing humans,
                while others are animal effigies that function as whistles, whistle
                flutes, or wheeled figurines incorporating whistle flutes.
                 a. Human Figurines: These figurines have a generally flattened
                appearance and heads are usually crowned by a broad and narrow headband
                (or hairdo) resembling a long bar. Eyes are shown by a single
                punctuation (to represent the pupil) between two ridges, defining the
                eye itself. Feet are usually split in a ``Y'' shape to help support the
                figurine. The figurines may be adorned with necklaces shown by a series
                of clay pellets. Rarely is enough detail included to determine which
                sex is intended (in such cases, women are usually represented).
                 b. Pelleted Tubular Whistle Flutes: Tubes with a whistle mechanism
                (blowhole) at one end and a rolling pellet within that produces a
                continuously varying tone when blown and tilted up and down. Simple
                bird or monkey heads may be added to the instrument's body.
                 c. Wheeled Figurines: Human or animal effigies with four tabular
                legs, each with a perforation to accept wooden sticks as axles for the
                front and rear wheels (the wheels themselves were ceramic discs rarely
                found together with these artifacts). Decoration is mostly through
                appliqu[eacute] using relatively thick strips and pellets of clay.
                 d. Animal Effigy Whistle Flutes: Made from a small sphere of clay
                with very simple (schematic) appliqu[eacute] to represent humans,
                birds, turtles, armadillos, opossums, and other animals. In addition to
                the whistle mechanism, these have one or two finger holes in their
                bodies that vary their tone when covered. The most elaborate examples
                may have punctate and ridge eyes like those found in the Lepa human
                figurines. May be perforated for suspension.
                 e. Dating: Late Classic Lepa Phase of central and eastern El
                Salvador, represented in Quelepa, Tehuac[aacute]n, and other sites.
                 f. Appearance: Usually reddish brown to brick red, with a rough or
                only moderately smoothed surface. Some have a polished white slip that,
                when well preserved, may have elaborate designs painted in black, red,
                and/or yellow. Pelleted tubular whistle flutes have been noted with
                fugitive (post-firing) white and/or blue paint.
                 g. Size: Most human figurines range in height between 5 in (12 cm)
                to 10 in (25 cm). Unusually large examples are known to reach 15 in (38
                cm) in height, and these tend to bear painted designs more often than
                the normal sized figurines. The pelleted tubular whistle flutes known
                are 7 in (18 cm) or slightly shorter in length. The wheeled figurines
                known range from about 3.5 in (9 cm) to 5 in (13 cm) in length. The
                animal effigy whistle flutes measure about 2-3 in (5-8 cm) in maximum
                length.
                 h. Important Variants: Larger figurines may be hollow rather than
                solid, and may either contain pellets to act as a rattle, or may be
                equipped with holes for use as a flute (``ocarina'').
                 i. Formal Names: The human figurines have been classed as Lower
                Lempa Culture figurines (Wolfgang Haberland, ``On Human Figurines from
                San Marcos Lempa, El Salvador, C.A.'' in El Mexico Antiguo 9: 509-524,
                M[eacute]xico, D.F. (1961) (hereinafter, referred to as ``Haberland
                1961'')) and as Quelepa Figurine Type 3 (Andrews 1976). The wheeled
                figurines have been termed Oriental Type (Stanley H. Boggs,
                ``Figurillas con ruedas de Cihuat[aacute]n y el Oriente de El
                Salvador'' in Colecci[oacute]n de Antropolog[iacute]a 3,
                Direcci[oacute]n de Publicaciones, Ministerio de Educaci[oacute]n, San
                Salvador, El Salvador (1973) (hereinafter, referred to as ``Boggs
                1973b'')). The animal effigy whistle flutes have been referred to as
                Lepa Phase whistles (Andrews 1976; see also Stanley H. Boggs, ``Notes
                on Pre-
                [[Page 15366]]
                Columbian Wind Instruments from El Salvador'' in Baessler-Archiv 22,
                Baessler-Institut, Berlin, Germany (1974) (hereinafter, referred to as
                ``Boggs 1974'')).
                3. Cotzumalhuapa Figurines and Molds
                 Ceramic figurines, usually hollow and typically mold-made in part
                (especially heads). About half the known examples represent women, and
                most of the remainder depict a variety of animals (men are rare). Some
                representations of plants and furniture (litters) are known. Whistle
                mechanisms were optional for all forms of Cotzumalhuapa figurines.
                Pelleted tubular whistle flutes and recently identified Cotzumalhuapa
                wheeled figurines are also included here.
                 a. Molds: The molds used to produce these figurines were press
                molds made of coarse textured fired clay, usually brick red or reddish
                brown in color. The working faces of these molds present a complicated
                depressed area that produces the impression, while the opposite side of
                the mold is usually rounded and carelessly finished. A sheet of wet
                clay was pressed into the mold and then carefully extracted with the
                impression of, for examples, the front half of a female figurine (the
                other half was added by hand modeling, as were optional details like
                headgear if these were absent from the mold used).
                 b. Female Figurines: The figurines representing women have been
                referred to as ``bell-form'' due to the shape of their conical hollow
                bases. They usually portray elaborately dressed women, adorned with
                necklaces, earplugs, and large headgear of variable shape (but often
                resembling a half moon). The uniformity in portrayal suggests that we
                are dealing with a personage, and it is not too speculative to suggest
                that she was an important Cotzumalhuapa goddess. Rare figurines exist
                where the female's body is covered by cacao pods, indicating a
                relationship to agricultural production and, in these latter examples,
                with the intensive production of cacao that has been documented as an
                important Cotzumalhuapa economic focus. Whistle mechanisms, when
                present, are usually worked into one shoulder (the larger female
                figurines tend not to possess whistle mechanisms).
                 c. Male Figurines: The very rare male figurines are known to
                include representations of warriors (with clubs and shields) and
                injured or diseased individuals (one example shows an individual with
                patches of flesh missing from the maxillary area and nose).
                 d. Animal Figurines: Among the animals present in Cotzumalhuapa
                figurines are parrots, vultures, owls, doves, monkeys, felines
                (probably jaguars are intended), bats, dogs, deer, frogs or toads,
                turtles, iguanas, snakes, crocodiles, fish, clams, crabs, and others.
                These reflect the rich fauna of the Cotzumalhuapa area, which included
                mangrove lined estuaries, the adjoining coastal plains, and nearby
                mountain ranges. Monkeys and parrots are, however, the most common
                animals depicted. Most animal figurines have whistle mechanisms.
                Because of the complicated forms required for animals, use of molds may
                sometimes be limited to face areas, and some are entirely hand modeled.
                 e. Plant Figurines: Representations of corn cobs and cacao pods
                have been found.
                 f. Pelleted Tubular Whistle Flutes: Tubes with a whistle mechanism
                (blowhole) at one end and a rolling pellet within that produces a
                continuously varying tone when blown and tilted up and down. One
                example is apparently a bat effigy, with a bat head and disk
                (representing the wings) added to the tubular body of the instrument.
                 g. Wheeled Figurines: Cotzumalhuapa wheeled figurines have only
                recently been identified. One has a tubular body with four tabular
                supports, each with a perforation to accept the wooden sticks that
                acted as axles for the front and rear wheels. A mold-made dog head was
                added to one end of the tube, and a tail to the other.
                 h. Other Figurines: Two figurines have been documented representing
                the litters that were probably used to transport Cotzumalhuapa elites.
                They resemble a small rectangular box with a canopy, supported by four
                spiked feet. A pair of holes at each extreme permitted two sticks to be
                inserted to act as the carrying poles. On one example, the canopy was
                modeled to represent the stretched skin of a crocodile arranged with
                the head at one extreme and the tail at the other, with a spiked crest
                running between the two. Other Cotzumalhuapa modeled clay artifacts
                that may be included as figurines include objects resembling scepters,
                bells, lidded boxes, and plaques with human faces.
                 i. Dating: Late Classic products of the Cotzumalhuapa culture,
                which in El Salvador included the western coastal plain to the upper
                drainage of the Paz River. Trade brought examples into Payu Ceramic
                Complex contexts elsewhere in western and central El Salvador.
                 j. Appearance: Most are brown (from tan through reddish brown) to
                red (brownish red to brick red), with a coarsely finished to moderately
                smoothed surface. Rare examples are of Tiquisate Ware (characterized by
                a very smooth, lustrous, and hard surface, cream to orange in color),
                and may be ancient imports from the Pacific coast of Guatemala. Traces
                of paint may be present (blue, black, red, yellow, and white have been
                documented); the paint was usually applied after firing and tends to be
                easily eroded. Those parts of figurines made without the benefit of
                molds tend to be rather carelessly modeled.
                 k. Size: Female figurines usually range in height from 4 in (10 cm)
                to 12 in (30 cm), but some rare specimens reach 24 in (60 cm) and
                perhaps more in height. Animal and plant figurines tend to be small,
                typically ranging from 3 in (8 cm) to 6 in (16 cm) in their maximum
                dimension, though larger examples occur. The pelleted tubular whistle
                flute mentioned measures 6 in (16 cm) in length. Wheeled figurines
                measure 5.5 in (14 cm) in length. The models of litters are
                approximately 9 in (23 cm) in length.
                 l. Important Variants: Cotzumalhuapa use of clay was very creative
                and the observer should expect figurine forms not mentioned here.
                4. Payu Figurine Flutes and Whistles
                 Most Payu ceramic figurines known are musical instruments that have
                been classified as whistles, whistle flutes, and flutes (commonly
                called ``ocarinas''). Although their decoration varies considerably,
                important hallmarks (when present) are the decorative use of parallel
                strips of clay (sometimes with longitudinal grooves), and
                appliqu[eacute] of clay pellets with a distinctive dimple in their
                center. Molds were sometimes employed to render the faces of humans and
                monkeys. Human faces may include details commonly associated with
                Classic Maya conventions, including cheek decorations (from tattoos or
                scarification), extension of the bridge of the nose to above eye level,
                and/or a steeply inclined forehead (representing cranial deformation).
                 a. Globular Flutes (``ocarinas''): Payu figurine globular flutes
                have a very distinctive construction. Three spheres of clay were joined
                together in a column or in an ``L'' shape (and pierced at the
                junctures). The uppermost sphere was equipped with a blowhole. Clay was
                then packed around this assembly and decorative elements added. All
                ``L''-shaped flutes known were decorated to represent a standing
                quadruped animal whose open mouth forms the blowhole. Other (straight)
                flutes were almost always modeled to represent a human
                [[Page 15367]]
                (either full-body or just the head portion).
                 b. Tubular Whistle Flutes: A tubular form with a whistle mechanism
                (blowhole) at one end and three to five finger holes along the body of
                the tube. The appliqu[eacute]d head and arms of a monkey or human are
                always present next to the blowhole.
                 c. Whistle Flutes: A small, spherical body with a whistle mechanism
                and one or two finger holes is hidden to a lesser or greater degree
                under effigy decoration. This decoration tends to be notably more
                carefully executed and detailed than Lepa or Cotzumalhuapa examples.
                Examples include effigies of humans (full-body or heads), monkeys,
                dogs, birds, and reptiles. Smaller whistle flutes may be perforated for
                suspension.
                 d. Dating: An artifact class belonging to the assemblage associated
                with the Payu Ceramic Complex (Late Classic Period).
                 e. Appearance: Most Payu figurines are of medium textured clay with
                a moderately smoothed surface (and almost always unslipped). Color is
                usually reddish brown but may range from tan to brick red. Traces of
                paint are rare and may include blue-green, white, yellow, red, or
                black. Painted decoration, when present, was usually added after firing
                and tends to easily wear away.
                 f. Size: Globular flutes: 3-8 in (8-21 cm); tubular whistle flutes:
                6-8 in (15-21 cm); whistle flutes: 2-8 in (5-20 cm).
                 g. Formal Names: None. Many examples are illustrated in Boggs 1974
                (noted as Late Classic, from western and part of central El Salvador).
                5. Guazapa Figurines
                 Early Postclassic ceramic figurines whose style is derived from
                central Mexico and form part of the Guazapa Phase of central and
                western El Salvador. The Guazapa Phase has been interpreted as marking
                the large-scale migration of Nahua speakers into this area, these being
                the ancestors of the historical Pipil.
                 a. Mazapan-Related Figurines: Very flat figurines whose rendition
                of the human figure has been compared to gingerbread cookies. These
                objects were made by pressing a sheet of clay into a mold, obtaining a
                thin (0.75-1 in (2-3 cm)) solid figurine. The rear portion of the
                figurine is left unfinished and may exhibit finger marks from when the
                clay was pressed into its mold. The front displays a woman with a
                blouse with a triangular front, coming to a point in the middle of the
                waist. This type of blouse was referred to as a quechquemitl in central
                Mexico at the time of the Conquest, when its use was restricted to
                images of goddesses and goddess impersonators. These figurines are
                named for their close similarity to figurines of the Mazapan (Toltec)
                Phase of central Mexico.
                 b. Toad Effigies: Hand modeled large hollow toad effigies. They are
                usually shown as sitting as erect as possible for a toad, looking
                upwards. The front and rear of the toad's body is decorated with strips
                and buttons of clay meant to represent festive ribbons and bows. The
                tongue may be shown hanging from the mouth. In Postclassic Nahua
                mythology, toads were considered Tlaloc's (the rain god) helpers, and
                it was they who announced the coming of the rains (the extended tongues
                are probably meant to represent their thirsty anticipation of rain).
                Due to this association, some examples of toad effigies include two
                rings around the eyes (a diagnostic trait of Tlaloc himself).
                 c. Tlaloc Bottles: Bottles with a more or less spherical body
                crowned by a straight tubular neck with a flat, flaring rim. The body
                is decorated with the face of the rain god Tlaloc whose most
                distinctive trait is a ring around each eye. Many Tlaloc Bottles are in
                fact plugged in the neck or body and could not have actually functioned
                as vessels. Tlaloc was considered to dwell in the mountain peaks and
                pour out the rains from a bottle. These artifacts were probably
                household votive images of that bottle.
                 d. Very Large Effigy Figurines or Statues: Hand modeled hollow
                figurines representing jaguars, gods, or god impersonators. The larger
                examples reach life size and may truly be considered ceramic statuary
                (in any case, they have been included under ``Figurines'' to facilitate
                discussion). Known examples of gods or god impersonators represent the
                gods Tlaloc (identifiable by the rings around his eyes), Mictlantecutli
                (represented as a skeletal personage), and Xipe Totec (portrayed as
                wearing a flayed human skin). The largest figures may be crafted in
                several mating parts (for example, a Xipe Totec effigy was made in two
                large halves joining at the waist, with a separate head). Seventeen
                jaguar effigies were found in one excavation at Cihuat[aacute]n; all of
                these portray a jaguar sitting on its haunches, decorated with
                necklaces and a few bulbous objects placed on different parts of the
                body.
                 e. Small Solid Figurines: Hand modeled figurines of humans that are
                usually solid or mostly so, and that occasionally employed molds to
                form the face. Most appear to represent males who may carry war
                equipment (such as a dart thrower or atlatl) and large headgear. These
                figurines tend to be relatively small and crudely modeled.
                 f. Wheeled Figurines: Small wheeled figurine, consisting of a
                tubular hollow body with four tabular supports, each with a hole to
                accept wooden sticks acting as axles for the front and rear wheels. The
                wheels are flat ceramic disks. A tail was added to one end of the
                tubular body and a head to the other. Examples are known with deer
                heads with antlers and dog heads with tongue extended over the lower
                lip.
                 g. Dating: Artifacts of the Early Postclassic Guazapa Phase of
                central and western El Salvador (at Cihuat[aacute]n, Igualtepeque, El
                Cajete, Ulata, Santa Mar[iacute]a, Pueblo Viejo Las Mar[iacute]as, and
                other sites).
                 h. Appearance: Generally reddish brown to brick red, but may be as
                light as tan in color. The surface may be smoothed but not polished and
                has a sandy texture. Many give the impression of having been hastily
                made. Traces of white, black, blue, yellow, and/or red fugitive paint
                have been found on some figurines.
                 i. Size: Height of Mazapan-related figurines: 6-10 in (15-25 cm);
                height of toad effigies: 6-9 in (15-23 cm); height of Tlaloc bottles:
                4-10 in (10-25 cm); height of very large effigy figurines or statues:
                24-55 in (61-140 cm); height of small solid figurines: 6-18 in (15-30
                cm); length of wheeled figurines: 5.5-8.5 in (14-22 cm).
                 j. Formal Names: Encompassed by the Guazapa Phase, the type site of
                which is Cihuat[aacute]n (see Stanley H. Boggs, ``A Human-Effigy Figure
                from Chalchuapa, El Salvador'' in Notes on Middle American Archaeology
                and Ethnology 31, Carnegie Institution of Washington, Washington, DC,
                United States (1944) (hereinafter, referred to as ``Boggs 1944'');
                Stanley H. Boggs, ``Apuntes sobre varios objetos de barro procedentes
                de Los Guapotes en El Lago de Guija'' in Antropolog[iacute]a e Historia
                de Guatemala 15(1), Instituto de Antropolog[iacute]a e Historia,
                Guatemala (1963) (hereinafter, referred to as ``Boggs 1963''); Boggs
                1973b; Stanley H. Boggs, ``Antig[uuml]edades salvadore[ntilde]as
                errantes: dos Xipe Totecs del lago de G[uuml]ija'' in Anales del Museo
                Nacional ``David J. Guzm[aacute]n'' 49, Direcci[oacute]n de
                Publicaciones, Ministerio de Educaci[oacute]n, San Salvador, El
                Salvador (1976) (hereinafter, referred to as ``Boggs 1976''); Karen
                Olson Bruhns, ``Cihuat[aacute]n: An Early Postclassic Town of El
                Salvador, the 1977-78 Excavations'' in Monographs in Anthropology 5,
                The Museum of Anthropology, University of Missouri, Columbia, Missouri,
                United States (1980) (hereinafter, referred to as ``Bruhns 1980'');
                William R. Fowler, Jr.,
                [[Page 15368]]
                The Pipil-Nicarao of Central America (unpublished dissertation) (on
                file with Department of Anthropology, University of Calgary, Canada
                (1981) (hereinafter, referred to as ``Fowler 1981''); William R.
                Fowler, Jr., ``The Figurines of Cihuat[aacute]n, El Salvador'' in The
                New World Figurine Project, Vol. 1, Research Press, Provo, Utah, United
                States (Terry Stocker ed. 1990) (hereinafter, referred to as ``Fowler
                1990'')).
                B. Other Small Ceramic Artifacts
                1. Spindle Whorls or Malacates
                 Small ceramic disc-shaped artifacts with a central perforation. As
                viewed in section, these are thicker towards the center. They may have
                incised or mold-made decoration. These are often mistaken for ceramic
                beads and many may be strung together for transport or display.
                 a. Dating: Late Classic to Protohistoric Periods. Different
                varieties are documented in relation to Late Classic Phases and ceramic
                complexes (Lepa, Payu, Tamasha) through the Postclassic (Guazapa,
                Cuscatl[aacute]n, and others).
                 b. Appearance: Carefully formed and smoothed. Many were slipped,
                and run the full range of black through brown through red. Fugitive
                white paint has been noted as a rare filler for incised designs.
                 c. Size: 0.8-1.2 in (2.1-3.2 cm) in diameter. Holes are always
                close to 0.25 in (0.6 cm) in diameter.
                 d. Formal Names: Referred to as spindle whorls or malacates (see,
                e.g., John M. Longyear, III, ``Archaeological Investigations in El
                Salvador'' in Memoirs of the Peabody Museum of Archaeology and
                Ethnology 9(2), Harvard University, Cambridge, United States (1944)
                (hereinafter, referred to as ``Longyear 1944''); Robert J. Sharer, ed.,
                The Prehistory of Chalchuapa, El Salvador, University of Pennsylvania,
                Philadelphia, Pennsylvania, United States (1978) (hereinafter, referred
                to as ``Sharer 1978''); Andrews 1976).
                2. Ceramic Seals
                 Ceramic seals present a high-relief pattern on clay surface and are
                thought to have been used with paint to stamp designs for body and/or
                textile decoration. Some were used to impress designs on still-wet
                pottery objects. Some seals have been found still covered with red
                pigment. Seals may be flat, with a spike handle on the rear, or
                cylindrical and used by rolling. Cylinder seals usually have a central
                perforation that would have allowed a stick to be passed through and
                facilitate their use like rolling pins.
                 a. Dating: To date, seals have been found in El Salvador in
                contexts ranging from the Late Preclassic and Late Classic Periods (in
                relation to the Chul, Caynac and Payu Ceramic Complexes and the Tamasha
                Phase).
                 b. Appearance: Well-smoothed and sometimes slipped surfaces. Color
                ranges from black-brown through reddish-brown and red.
                 c. Size: Flat seals: 1.2-5 in (3-13 cm) in diameter; cylinder seals
                may be 2.4-5 in (6-12 cm) in length.
                 d. Formal Names: Usually referred to as seals or stamps, flat or
                cylindrical (see Sharer 1978; Arthur A. Demarest, ``The Archaeology of
                Santa Leticia and the Rise of the Maya Civilization'' in Publication
                52, Middle American Research Institute, Tulane University, New Orleans,
                Louisiana, United States (1986) (hereinafter, referred to as ``Demarest
                1986''); Paul E. Amaroli, Informe preliminar de las excavaciones
                arqueol[oacute]gicas en Cara Sucia, departamento de Ahuachap[aacute]n,
                El Salvador (unpublished manuscript) (on file with Direcci[oacute]n de
                Patrimonio Cultural, San Salvador, El Salvador) (1987) (hereinafter,
                referred to as ``Amaroli 1987'').
                3. Miniatures
                 Very small ceramic objects made in the form of jars or flasks.
                Often made of a very fine cream colored ceramic. These may be modeled
                to resemble squash effigies, or may include stamped designs of Maya
                glyphs, human forms, or animals. Miniature vessels often contain
                residuals of red pigment. Late Classic Period.
                 a. Size: 1.5-4 in (4-10 cm) in height.
                 b. Formal Names: None.
                4. Spools
                 This category includes several varieties of spool-shaped artifacts
                that functioned as earspools and as labrets. Often a short tab extends
                from one side, while the other may have modeled (and sometimes mold-
                made) decoration. Alternatively, the spool sides may have incised
                decoration.
                 a. Dating: Early Preclassic through Postclassic Periods (Sharer
                1978; Amaroli 1987).
                 b. Size: Normally do not exceed 1.3 in (3.4 cm) in their maximum
                dimension.
                C. Ceramic Vessels
                1. Polychrome Vessels
                 a. Copador Polychrome Vessels: Hemispherical bowls, bowls with
                composite walls, cylindrical vases, and jars with painted designs in
                red, black, and optionally yellowish orange on a cream to light orange
                base. The red paint used is almost always specular (small flecks of
                crystals flash as the vessel is moved in strong light). Copador paste
                is cream colored (or sometimes very light brown) and is not very hard
                or dense. Designs (usually on the exterior) may include bands of motifs
                derived from Maya glyphs, seated individuals, individuals in a swimming
                position, melon-like stripes, birds or other animals, and others. Rare
                examples have excavated lines or patterns. Copador Polychrome may
                usually be distinguished on the basis of its specular red paint and
                cream colored paste.
                 i. Dating: Late Classic Period (defined as a member of the Payu
                Ceramic Complex, which is commonly in Tamasha Phase deposits (Cara
                Sucia)).
                 ii. Size: Bowl diameter may vary from 4-12 in (10-30 cm), the
                height of cylindrical vases may range from 6-12.5 in (15-32 cm), and
                jar height ranges from approximately 5-11 in (12-28 cm).
                 iii. Formal Names: Referred to as the Copador Ceramic Group (Sharer
                1978).
                 b. Gualpopa Polychrome: This type is closely related to Copador
                Polychrome, with which it shares a cream colored paste and the
                hemispherical bowl form (rarer forms in Gualpopa are: Flat bottomed
                bowls with vertical walls and composite walled bowls). Designs in
                Gualpopa are painted in red (which, unlike the Copador, are not
                specular) and black on a cream-orange base. Gualpopa motifs are simpler
                than Copador. Most common designs are geometric designs (spirals,
                ``melon'' bands, chevrons, and others), but repeating birds, monkeys,
                or designs derived from Maya glyphs may be found.
                 i. Dating: Late Classic, especially the first part of this period.
                Defined as a member of the Payu Ceramic Complex.
                 ii. Size: Diameters range from 6-15 in (16-38 cm).
                 iii. Formal Names: Termed as the Gualpopa Ceramic Group (Sharer
                1978).
                 c. Arambala Polychrome: Formerly referred to as ``false Copador''
                due to its close resemblance to Copador Polychrome. Arambala may be
                differentiated from Copador by its reddish paste (contrasting with
                Copador's cream paste) and the use of a dull red paint (rather than
                Copador's specular red paint). Apart from these two differences,
                however, Arambala closely duplicates Copador's repertoire of vessel
                forms, dimensions, and decoration (which are described above). A cream-
                orange slip was added over Arambala's reddish paste to approximate
                Copador's base color, but this slip often has a streaky appearance.
                 i. Dating: Late Classic Period. A member of the Payu Ceramic
                Complex
                [[Page 15369]]
                and present in the Tamasha Phase of Cara Sucia.
                 ii. Size: See the description for Copador Polychrome.
                 iii. Formal Names: Defined as the Arambala Ceramic Group (Sharer
                1978).
                 d. Campana Polychrome Vessels: Flat bottomed bowls with flaring
                walls, usually large. Provided with four hollow supports that may take
                the form of pinched cylinders or cylinders with human or animal
                effigies. Intricate painted designs were executed in black-brown, dull
                red, and orange, on a cream to cream-orange base. A large portrayal of
                a human or animal is featured on the interior center of these vessels,
                and the rims often have a distinctive encircling twisted rope and dot
                design. Some examples have a few curving lines of broad (up to 0.5 in
                (1.3 cm)) Usulut[aacute]n negative decoration. Campana Polychrome paste
                is dense, hard, and brick red. Other forms include small bowls without
                supports, with flat bottoms and flaring walls, and cylindrical vases
                with bulging and sometimes faceted midsections and occasionally short
                ring bases. The cylindrical vases usually feature panels on opposing
                sides of the vessel, with human or animal designs, and may have very
                short and wide tabular supports.
                 i. Dating: Late Classic Period. Present in association with the
                Payu Ceramic Complex (Sharer 1978), the Lepa Phase (Andrews 1976), and
                the Tamasha Phase (Amaroli 1987).
                 ii. Size: The large bowls with supports range from 10-20 in (25-50
                cm) in diameter. The small bowls without supports are usually 6-9 in
                (16-22 cm) in diameter. Cylindrical vases range in height from 7-10 in
                (18-25 cm).
                 iii. Formal Names: Termed as the Campana Polychrome Ceramic Group
                (Sharer 1978).
                 e. Salua Polychrome: Mostly cylindrical vases, usually with very
                short and wide tabular supports. The larger examples may have two
                opposing modeled head handles, just below the rim, representing monkeys
                or other animals. Bold designs are painted on a cream to orange base,
                using different combinations of black, dull red, dark orange, and
                yellow. The normally invisible paste is brick red. Black was often used
                to create ample panels (or even to cover almost the entire vessel) as a
                backdrop for featured designs. The principal designs are strikingly
                displayed and can include: Mat patterns (petates), twisted cord
                patterns, animals (jaguars, parrots, owls, and others), humans, sea
                shells, ballcourts (represented by a two or four colored ``I''-shaped
                drawing), and other motifs. Humans are often arrayed in finely detailed
                costumes and may be represented playing musical instruments, sowing
                with a digging stick, armed for battle, seated within a structure, or
                in other attitudes. A decorative option was to excise or stamp designs
                in panels or registers.
                 The remainder of the vessel (or, if a featured motif is lacking,
                all of the vessel) is decorated with panels and registers with
                circumferencial bands near the rim and geometric patterns elsewhere.
                Other vessel forms known for Salua are short cylinders, bowls, convex
                walled bowls (i.e., with bulging sides), composite walled bowls, and
                jars. Despite their exceptional decoration, colored stucco was
                sometimes used to cover areas of Salua vessels (when eroded this stucco
                leaves chalky traces). Salua vessels have rarely been found filled with
                red pigment.
                 i. Dating: Late Classic (associated with the Payu Ceramic Complex
                and the Lepa Phase).
                 ii. Size: The cylindrical vessels grade into vertical walled bowls
                over a range of heights from 3.5-12.5 in (9-32 cm). Bowl diameters
                range from 6-12 in (15-30 cm).
                 iii. Formal Names: The name Salua is a local term employed in the
                National Museum of El Salvador. It has been long recognized that
                probably several different ceramic groups are lumped under this term,
                and that at least some of these groups probably correspond with the so-
                called Ulua or Sula Valley Polychromes of neighboring Honduras (which,
                in recent years, have been divided among several ceramic groups).\2\
                Sharer cites Salua as a special group of the Payu complex, termed
                Special: Polychrome B, and he also mentions the name Salua Polychrome
                (Sharer 1978). At Quelepa, it was noted as an unnamed ceramic group
                referred to as Dark Orange and Black on Orange (Andrews 1976). Several
                examples are illustrated in Longyear 1944 and John M. Longyear, III,
                ``Archaeological Survey of El Salvador'' in Handbook of Middle American
                Indians, Vol. 4, University of Texas Press, Austin, Texas, United
                States (Gordon F. Ekholm and Gordon R. Willey eds. 1966) (hereinafter,
                referred to as ``Longyear 1966'').
                ---------------------------------------------------------------------------
                 \2\ In comparison with Honduran collections, there is a relative
                abundance of Salua Polychrome in national and private collections in
                El Salvador.
                ---------------------------------------------------------------------------
                 f. Quelepa Polychrome: Hemispherical and composite wall bowls and
                jars. Bowls may have basal flanges or slight angle changes near the
                rim, and small solid or larger hollow supports. Quelepa Polychrome has
                a hard and very white base (slip) over a fine red paste. On this white
                base were painted designs in orange (often applied as a wash over most
                of the vessel), red, and black; very rarely a purple paint may be
                present. Designs include ``checkerboards'', sunbursts, circles, bands,
                wavy lines, and others. Animals may be depicted on the interior or
                exterior (jaguars, birds, and monkeys have been noted).
                 i. Dating: Late Classic (a member of the Lepa Ceramic Complex).
                 ii. Size: Bowls may measure from 4.5-15 in (11-38 cm) in diameter.
                 iii. Formal Names: Termed as the Quelepa Polychrome Ceramic Group
                in Andrews 1976.
                 g. Los Llanitos Polychrome: Flaring walled bowls, most or all with
                solid tabular supports (supports may have effigy decoration). A cream
                colored slip was applied on a red paste. Orange paint was applied to
                the entire interior of the bowl and in small areas bordered by black on
                the exterior. In addition to orange and black, colors may include dull
                red, sepia, and rarely purple. Two designs diagnostic of Los Llanitos
                Polychrome are a ``five-fingered flame'' and stacks of three or four
                horizontal bars of decreasing length.
                 i. Dating: Late Classic (a member of the Lepa Ceramic Complex).
                 ii. Size: 7-12.5 in (18-32 cm) in diameter.
                 iii. Formal Names: Termed Los Llanitos Polychrome by Longyear
                (Longyear 1944) and Los Llanitos Polychrome Ceramic Group by Andrews
                (Andrews 1976).
                 h. ``Chinautla'' Polychrome: Flaring walled bowls with flat bases
                and three or four hollow conical supports with simple appliqu[eacute].
                Red and black-brown designs were painted over a cream slip in
                registers, including spirals, stepped frets, bars, and dots.
                 i. Dating: Late Postclassic (a member of the Ahal Ceramic Complex).
                 ii. Size: 6.5-10 in (17-26 cm) in diameter.
                 iii. Formal Names: First defined in Chalchuapa as the Chinautla
                Ceramic Group by Sharer (Sharer 1978) due to its similarities with the
                ``Chinautla Polychrome tradition'' found mostly in the Guatemalan
                highlands, which is subdivided into several distinct and locally
                distributed ceramic groups, of which the Chalchuapa variety would be
                one.
                 i. Machacal Purple Polychrome: Bowls (hemispherical, composite
                walled, or vertical walled with convex bases). With the exception of
                vertical walled bowls, these may be supported by ring bases, pedestal
                bases, or four hollow cylindrical supports. Possesses an orange base
                slip with red and dark
                [[Page 15370]]
                purple designs. Purple designs in the form of a horizontal ``S'' on the
                vessel exterior are common. Vessel bottoms usually have a simple purple
                design that some people have considered to vaguely resemble a bird. The
                generous use of purple paint on an orange base slip is a distinctive
                characteristic of this variety.
                 i. Dating: End of the Early Classic and beginning of the Late
                Classic.
                 ii. Size: 5-11.5 in (13-29 cm) in diameter.
                 iii. Formal Names: Termed Red and Purple on Orange by Boggs (in
                Longyear 1944), and Machacal Purple-polychrome by Sharer (Sharer 1978).
                 j. Nicoya Polychrome: Hemispherical bowls, bowls with rounded to
                almost flat bases and flaring walls (these may have three hollow
                cylindrical or conical supports with effigy decoration as an option,
                often in the form of bird heads), cylindrical vases with ring bases,
                and jars. Red, black, and yellow paint was applied over a very smooth
                white slip with a ``soapy'' texture. Usually over half of the vessel
                was left white. Designs include registers with geometric designs, human
                figures, and others. Rare vessels may have unusual forms and
                appendages.
                 i. Dating: Early Postclassic.
                 ii. Size: Bowls range from 6-11 in (15-28 cm) in diameter;
                cylindrical vases range from 6.5-12 in (17-30 cm) in height.
                 iii. Formal Names: Long called Nicoya Polychrome due to its
                relationship with the different varieties grouped under that name first
                defined for Nicaragua and Costa Rica. The variety found in El Salvador
                differs sufficiently from those varieties in forms and decoration to be
                considered as an additional type.
                 k. Chancala Polychrome: Hemispherical bowls, often slightly flaring
                from just under the rim. A cream base slip (often streaky in
                appearance) was painted with designs in brown-black and red. Animals
                rendered in a distinctive silhouette style were painted on opposing
                sides of the exterior (monkeys, lizards, and birds seem to be
                represented), with large solid circles, squares or cross-hatch designs
                between the two. The upper portion of the exterior body is divided by
                bands in a register holding step frets, circles, and/or other designs.
                 i. Dating: Late Classic.
                 ii. Size: 6-8 in (15-20 cm) in diameter.
                 iii. Formal Names: Termed Chancala Polychrome by Boggs (Stanley H.
                Boggs, ``Cer[aacute]mica cl[aacute]sica del barrio Santa Anita, San
                Salvador en la colecci[oacute]n Orlando de Sola'' in Anales del Museo
                Nacional ``David J. Guzm[aacute]n'' 9 (37-41), Museo Nacional de San
                Salvador, San Salvador, El Salvador (1972) (hereinafter, referred to as
                ``Boggs 1972'')).
                 l. Salinitas Polychrome: Known in bowl forms with a streaky cream
                to orange base slip. Black circumferencial bands define registers that
                usually enclose alternating spirals and stylized animals outlined in
                black with orange infilling.
                 i. Dating: Late Classic Period.
                 ii. Formal Names: Termed Salinitas Polychrome by Boggs.
                2. Vessels With Usulut[aacute]n Decoration
                 Here are included several different varieties of ceramics that
                prominently feature Usulut[aacute]n decoration as their distinctive
                trait. Usulut[aacute]n decoration is a negative technique, resulting in
                light-colored lines against a darker background. The light lines were
                achieved by applying a resist substance and then covering the vessel
                with a slip that fired a darker color. Since this failed to adhere to
                the areas with resist, these maintained their lighter shade (a
                simplified explanation). In its most elaborate version, the resist
                substance was applied with a multiple brush with as many as seven small
                brushes fastened in a row, allowing the creation of swirling parallel
                lines. The base color on these vessels ranges from salmon pink to dark
                yellow, with the lines being a lighter shade of the same. Some
                varieties have red paint added as rim bands or (in the case of the
                Chilanga Ceramic Group) simple designs. Formal names for the ceramic
                groups considered here are: Jicalapa, Puxtla, Izalco, and Chilanga
                (Sharer 1978, Demarest 1986, Andrews 1976).
                3. Plumbate Vessels
                 Unpainted vessels with a glazed appearance. Surface color ranges
                from dark brown-black to lead-colored to salmon-orange, and sometimes
                all are found on a single vessel. Some areas may be iridescent. This is
                an extremely hard ceramic and ``rings'' when tapped. Vessel forms
                include a variety of forms of jars, bowls, cylindrical vases, and may
                even include figurines. Effigy decoration is common.
                 a. Dating: Terminal Classic (San Juan variety) and Early
                Postclassic (Tohil variety).
                 b. Formal Names: Both San Juan and Tohil varieties \3\ are found in
                El Salvador (Sharer 1978).
                ---------------------------------------------------------------------------
                 \3\ One third of all Tohil vessels recorded in the only pan-
                Mesoamerican inventory to date were from El Salvador (Ann O.
                Shepard, ``Plumbate: A Mesoamerican Trade Ware'' in Publication 573,
                Carnegie Institution of Washington, Washington, DC, United States
                (1948)).
                ---------------------------------------------------------------------------
                4. Olocuilta Orange and Santa Tecla Red Vessels
                 These two distinctive varieties of Late Preclassic ceramic vessels
                share many forms and types of decoration. Forms include a variety of
                bowls that may have very wide everted rims with scalloped and incised
                designs (in extreme cases, the rims may be extended to form fish or
                other animal effigies when viewed from above). Bowls may also include
                faceted flanges. Some bowls may take the form of toad effigies.
                Usulut[aacute]n decoration (very often poorly preserved) may be
                present. The Santa Tecla Red variety is distinguished by its dense dark
                red slip, while Olocuilta Orange has a light orange slip (often with a
                powdery texture when slightly eroded). Santa Tecla Red may have
                graphite rubbed into grooves.
                 a. Dating: Late Preclassic (Chul and Caynac Ceramic Complexes).
                 b. Formal Names: Santa Tecla and Olocuilta Ceramic Groups (Sharer
                1978; Demarest 1986).\4\
                ---------------------------------------------------------------------------
                 \4\ In these sources, ``Olocuilta'' (which is the name of a
                Salvadoran town) was misspelled ``Olocuitla''.
                ---------------------------------------------------------------------------
                5. Incised or Excised Vessels
                 Here are considered different varieties of ceramic vessels whose
                salient visual trait is decoration based on incision or excision.
                 a. Pinos: Pinos vessels have a smooth streaky black to brown slip
                with (post-slip) incisions on the exterior forming geometric designs.
                These incisions are sometimes filled with red or white pigment. Forms
                include a variety of bowl forms. Defined as part of the Chul and Caynac
                Ceramic Complexes of the Late Preclassic Period (Sharer 1978; Demarest
                1986).
                 b. Lolotique: A variety of bowl forms of a dark and dull red color
                with fine post-slip incised geometric patterns. Defined as part of the
                Chul and Caynac Ceramic Complexes of the Late Preclassic Period (Sharer
                1978; Demarest 1986).
                 c. Chalate Carved: Cylindrical vessels with a band of false glyphs
                or geometric designs carved below the rim. Details within this
                excavated band may be emphasized with incision. Vessel bodies are
                usually tan colored, and cream slip was sometimes added over the
                exterior, avoiding the carved band which was sometimes painted with red
                slip. When the cream slip is present, negative designs of dots,
                circles, water lilies, or egrets may be barely visible on the vessel
                body. The name of this Late Classic type is provisional and was
                proposed by Boggs based on its abundance in the Chalatenango area.
                [[Page 15371]]
                 d. Red Excised: Cylindrical vessels with a band of false glyphs or
                geometric decoration excised below the rim and vertical excised grooves
                usually covering the rest of the exterior, sometimes with two opposing
                excised panels representing animal heads or other designs. Slipped with
                a dark red-orange color. Short solid tabular or nubbin supports may be
                present. Provisional name for a Late Classic type common in central El
                Salvador.
                 e. Cotzumalhuapa Incised Cylindrical Vases: Cylindrical vases,
                orange to brown in color, with fine incision including geometric motifs
                and monkeys. The rim area is distinguished by a band or groove. Late
                Classic Period.
                6. Vessels With Red Decoration
                 Here are grouped together varieties of ceramic vessels whose
                principal decoration was executed in red paint.
                 a. Marihua Red on Buff: Forms include: Hemispherical bowls, bowls
                with rounded bases and flaring walls (these usually have three hollow
                or cylindrical supports, sometimes in the form of bird heads), and jars
                with three handles. Broad red lines form geometric designs on the buff
                colored interior of bowls and the exterior of jars. Designs include
                arcs, crosses, step frets, ehecatcozcatl (split snail shell motif), and
                others. Very rare are finely incised designs in a band on the exterior
                of bowls. Postclassic Period (Wolfgang Haberland, ``Marihua Red-on-Buff
                and the Pipil Question'' in Ethnos 29 (1-2), National Museum of
                Ethnography, Stockholm, Sweden (1964) (hereinafter, referred to as
                ``Haberland 1964'')).
                 b. Guarumal: Almost all known examples are jars. Part of the jar
                exterior (reddish brown in color) is painted with a dense and hard red
                paint that is finely crazed. The paint may cover the upper portion of
                vessels, or may be distributed as panels, large dots or arcs. Rarely
                the entire vessel exterior is covered in red. A decorative option was
                to apply white paint in circles (applied with a hollow cane) and/or
                zigzagging lines. This white paint is also very hard and was applied
                over red painted areas. A small rabbit appliqu[eacute] may appear on
                the vessel body. Late Classic Period (Marilyn P. Beaudry, ``The
                Ceramics of the Zapotit[aacute]n Valley'' in Archaeology and Volcanism
                in Central America: The Zapotit[aacute]n Valley of El Salvador,
                University of Texas Press, Austin, Texas, United States (Payson D.
                Sheets ed. 1983) (hereinafter, referred to as ``Beaudry 1983'')).
                 c. Delirio Red on White: Hemispherical bowls (sometimes made into
                an armadillo effigy by means of a shingled exterior and
                appliqu[eacute]d head and tail), bowls with flat or slightly rounded
                bottoms and flaring walls (these may have hollow cylindrical supports),
                jars (which may have a pair of effigy head handles below the rim), and
                other minor forms. A hard white slip was painted in red with very
                intricate geometric designs. Naturalistic forms are very rare. Late
                Classic Period (Lepa Ceramic Complex--Andrews 1976).
                 d. Cara Sucia Red Painted: Jars with dull red-orange paint over a
                cream-orange slip. The lower body is divided by vertical pairs of
                bands. Birds or other motifs may be painted on the shoulder of the
                vessel. Late Classic Period.
                7. Jars With Modeled Effigy Faces
                 Here are grouped together different varieties of ceramic jars that
                share the presence of effigy faces or heads applied to the vessel neck.
                Motifs include: Old man, man with goatee and closed eyes, monkey, bird,
                and schematic humans.
                8. Tiquisate Vessels
                 Tiquisate vessels are entirely orange (ranging from light cream-
                orange to deep orange in color). Their surface is very hard and may
                ``ring'' when tapped. Vessel forms include hemispherical bowls and
                cylindrical vases. Decoration may take the form of rows of bosses,
                incised geometric designs, or stamped scenes of humans, animal heads,
                twisted bands, or other designs. Late Classic.
                9. Fine Paste Vessels
                 Forms include small flat bottomed bowls with vertical walls and
                hollow rattle supports, and piriform vessels with ring bases. Vessel
                walls are very thin and ``ring'' when tapped. An orange may be applied
                to the vessel with the exception of the base. Fine incising may be
                found on the exterior of bowls and may retain white and blue post-fire
                paint. Terminal Classic Period.
                10. Cara Sucia Pedestal-Based Bowls
                 A distinctive type of bowl with a tall pedestal base. The bowls
                often have a basal flange, and red painted zones are sometimes found on
                the interior. Late Classic Period.
                11. Stuccoed Vessels
                 Here are grouped a variety of vessel forms and types whose common
                denominator for the purposes at hand is the presence of stuccoed
                decoration. The stucco involved is usually a white kaolin clay with
                blue, blue-green, red, yellow, or brown pigment mixed in, and probably
                had (originally) an organic binder or agglutinate. Since that binder
                long since ceased to function, the stuccoed decoration tends to be very
                fragile. Designs are usually simple bands or geometric motifs, but
                occasionally human or animal figures may be represented. Entirely
                stuccoed vessels seem to be most common in the Late Classic, and
                especially in the Terminal Classic.
                12. Guazapa Scraped Slip Vessels
                 Jars with a brown body over which was applied a cream colored slip
                that was finger dragged (like finger painting) while it was still wet,
                creating curving or wavy designs. A reddish-orange wash was sometimes
                applied over the scraped slip. Early and Late Classic Periods.
                13. Ancient Imports
                 Late Classic Palmar and Other Lowland Maya Ceramics Several vessels
                of so-called ``Peten Glossware'' have been found in El Salvador that
                include the formally defined Palmar Ceramic Group, and may also include
                examples of the Saxche Ceramic Group and others (Sharer 1978). To date,
                three of such vessels have been found in scientific excavations (one in
                a Tazumal tomb in the 1940s, a Palmar vessel in an offering with an
                eccentric flint in San Andr[eacute]s in the 1970s, and a Palmar vessel
                in a grave on the outskirts of San Salvador in 1993). Several others
                have been documented in looting situations, including three recorded by
                Sharer (Sharer 1978), and in private collections. Although these
                vessels were not made in the territory of El Salvador, they were
                ancient imports, and, as such, form part of the Salvadoran cultural
                heritage, providing important testimony relative to long-distance
                social and economic relationships.
                 Forms include bowls with flat or slightly rounded bottoms and walls
                ranging from slightly flaring (nearly vertical) to broadly flaring
                walls, shallow simple bowls, tecomates (spherical forms with a small
                orifice), and cylindrical vases. Bowls may have ring bases, hollow
                cylindrical supports, or other forms of supports. Decoration consists
                of an orange or cream base slip over which were painted designs in
                black, red, and sometimes yellow. Designs include: Glyph bands, humans
                standing, seated, dancing, or in other attitudes, heads (human, animal,
                God K, and others), animals in different positions, and other themes
                rendered in Late Classic Lowland Maya style.
                D. Ceramic Drums
                 Ceramic drums comprise a globular body with a short rim on one
                extreme (over which the drum surface was stretched) and a long open
                shaft on the other extreme (which served as a stand).
                [[Page 15372]]
                The body may have incised decoration. Surfaces are usually slipped and
                well-polished, and may range from dark brown-black to brown to brownish
                red in color. Late Classic Period.
                E. Incense Burners
                1. Ladle Censers
                 This category groups together a variety of different spoon- or
                ladle-shaped incense burners. These have a handle (which may be a
                hollow tube or a flattened loop) which supports the ``spoon'' or
                ``ladle'' that actually held the embers over which incense was
                sprinkled. The ladle portion may have holes perforated to facilitate
                the circulation of air, and in the taller, more cup-like versions these
                holes may take the form of crosses or step frets (these are the so-
                called ``Mixteca-Puebla'' style censers). Animal heads, claws, or other
                effigies may be added to end of the handle.
                2. Three-Pronged Censers
                 Standing cylinders with three vertical prongs at the top and two
                long vertical flanges on the sides. Effigy faces may be added to the
                vessel bodies (bats have been noted). Post-fire paint added in red,
                orange, and white. Late Preclassic and Early Classic Periods (Sharer
                1978).
                3. Lolotique Spiked Censers
                 The bowl-shaped censer body is supported by a tall pedestal base
                with perforations in the form of two large squares or circles, or
                slits. Short spikes cover the base and body. May retain remnants of
                post-fire red or white paint. Late Classic Period (Andrews 1978).
                4. Las Lajas Spiked Censers
                 Large hourglass-shaped censer covered by short spikes. Incised or
                modeled decoration may be found on the everted rims found at top and
                bottom. An internal shelf may be present to hold the large clay dish
                that supported the embers. Early Postclassic Period (Fowler 1981).
                5. San Andr[eacute]s Stone Censers
                 Squat barrel-shaped censers of hard volcanic stone with columns of
                spikes on part of the exterior. The upper part of these censers have a
                dish-like depression to contain embers. Late Classic Period.
                6. Large Effigy Censers
                 Different varieties of censers whose common traits are their
                relatively large size and the prominent presence of elaborate effigies
                covering much or all of the censer body. In extreme cases, the censer
                is entirely concealed within a virtual ceramic sculpture. As an
                alternative to a single large effigy, some present several figures on a
                single censer, or a single element (like a head) repeated several
                times. Recorded effigies have included: The god Tlaloc (identifiable by
                a large ring around each eye), an individual with bulbous protruding
                eyes, the god Xipe Totec (appearing as an individual wearing a flayed
                human skin), jaguars, monkeys, iguanas, large saurians (so-called Earth
                Monsters), GIII (a manifestation of the Sun god identifiable by a
                twisted cord extending vertically between the eyes and catfish-like
                barbels curling from the sides of the mouth), and others. Mostly Late
                Classic and Postclassic Periods.
                7. Cotzumalhuapa Goblet Censers
                 Large goblet shaped vessel forms (essentially a large bowl with
                walls that begin as vertical and midway to the rim moderately flare
                outward, with a pedestal base), usually with signs of burning on the
                interior base. These censers may be unadorned, or may have two or three
                hollow head effigies rising directly from the rim, or they may have
                many small effigy heads attached in a row around the vessel just below
                its rim (monkey and iguana heads have been documented). Lids, when
                present, may appear as inverted bowls, with or without an effigy figure
                on top (one example has a large seated monkey). Late Classic Period.
                F. Mushroom Effigies
                 Though some regard these as phallic effigies, most agree that
                mushrooms are represented. Two varieties are presented here.
                1. Ceramic Mushroom Effigies
                 Tall hollow bases rise from a flaring base and taper upwards to
                support the mushroom ``cap''. The body may be plain or may carry red
                paint and fine incisions (usually in the form of rows of triangles).
                Probably Late Preclassic and Early Classic Periods.
                2. Stone Mushroom Effigies
                 Usually made of fine-grained volcanic stone. The shaft of the
                mushroom rises from a base that may be cylindrical or square, and
                occasionally has short supports. Near the ``cap'' may often be found
                two raised bands representing the point from which the cap separates
                from its stem as it opens. Late Preclassic and Early Classic Periods.
                G. Stone Sculpture
                1. Preclassic Animal Head Sculptures
                 Monumental sculptures in volcanic stone representing very stylized
                animal heads (Demarest 1986). These have usually been interpreted as
                jaguar heads, and, thus, are commonly called Jaguar Heads, but
                reptilian elements may also be present. These were apparently
                architectural elements associated with Late Preclassic Period pyramids.
                2. Cotzumalhuapa Sculpture
                 Monumental sculptures in volcanic stone in the Cotzumalhuapa style
                (see Lee A. Parsons, ``Bilbao, Guatemala'' (Vol. 1) in Publications in
                Anthropology 11, Milwaukee Public Museum, Milwaukee, Wisconsin, United
                States (1967) (hereinafter, referred to as ``Parsons 1967''); Lee A.
                Parsons, ``Bilbao, Guatemala'' (Vol. 2) in Publications in Anthropology
                12, Milwaukee Public Museum, Milwaukee, Wisconsin, United States (1969)
                (hereinafter, referred to as ``Parsons 1969'')). Themes known from El
                Salvador include: A snake emerging from the ground, a skeletal figure
                with a hat resembling a derby, a coiled snake, and a disk with a jaguar
                face. Some of these are made from two stones which connect by means of
                a hidden tenon. Late Classic Period.
                3. Tenoned Head Sculptures
                 Long sculptures of volcanic stone with an animal head at one end
                and an undecorated tenon at the other, intended to be mounted in
                monumental architecture. The heads usually represent a bird or reptile.
                Late Classic Period.
                4. Balsamo Sculpture
                 These portable sculptures are usually made of vesicular volcanic
                stone and represent a human form in a squatting position. The vertebrae
                are usually indicated as a notched ridge on the individual's back.
                Although this form predominates, a grasshopper sculpture is also
                documented. Postclassic Period.
                5. Yugos
                 ``U''-shaped ballgame yugos (yokes) made of dense volcanic stone.
                Very rare examples may carry carved decoration. Late Classic Period.
                6. Hachas
                 Thin ballgame hachas usually representing animal or human heads (a
                variety of other designs are also found, such as, a coiled snake and a
                skull). Made of fine-grained volcanic stone. Some examples have iron
                pyrite ``eyes'' and traces of red paint. Late Classic Period.
                7. Effigy Metates
                 Metates with a thin and slightly curving body, with an animal head
                at one end. A tail may be present at the
                [[Page 15373]]
                other end. These are usually supported by three tall supports. Made of
                dense volcanic stone. Late Classic and Early Postclassic Periods.
                H. Small Stone Artifacts
                1. Jade or Similar Greenstone Artifacts
                 Lustrous and hard green-colored stone crafted into: Beads
                (spherical, globular, tubular, or discoidal), pendants (plain or with
                human or animal effigies, including so called ``axe gods'' and canine
                tooth effigies), plaques (or pectorals) with elaborate designs, masks,
                mosaics, earspools, animal or human effigies (heads or full figure), or
                schematic squatting human forms (similar to examples from the El
                Caj[oacute]n area of Honduras).
                2. Eccentric Chipped Stone
                 Flint, chert, or obsidian flaked into eccentric forms. These may
                include: A zigzag lance point form, a disc with three prongs or spike
                on one side, and elaborate large effigy eccentrics apparently meant to
                serve as scepters (similar to those found in caches at Cop[aacute]n,
                Quirigu[aacute], and other sites). Late Classic Period.
                3. Obsidian Artifacts in General
                 Prismatic blades, bifacial artifacts (lance points, arrow points,
                ``knives''), cores, and other objects made from obsidian (a black
                colored volcanic glass).
                4. Pyrite Mosaic ``Mirrors''
                 A mosaic of carefully fitted plaques of iron pyrite placed on a
                thin disc-shaped backing made of stone or clay that may have designs on
                one side. When new, the pyrite reflected light brilliantly, but
                archaeological specimens have often lost their shine due to oxidation
                (the pyrite may convert to a brownish black crust). Late Classic and
                perhaps other periods.
                5. Paint Pallets
                 Small artifacts of vesicular volcanic stone with a dish-shaped or
                squared depression on one surface. Some pallets are simple, being
                essentially natural cobbles of a flattened oblong shape with the
                depression worked on one surface, or sometimes two depressions on
                opposing surfaces. Others are elaborately carved and may include four
                supports and animal or human head effigies. Traces of red pigment have
                been found on some pallets. Late Classic and possibly other periods.
                6. Translucent Stone Bowls
                 Thin bowls carved from light colored translucent stone (which in
                different cases has been labeled as marble, alabaster, and onyx). At
                least some of these may be ancient imports from the territory of
                Honduras. Late Classic Period.
                7. Barkbeaters
                 Tabular dense stone artifacts with numerous longitudinal parallel
                incisions worked on one or both broad faces. On one variety (Classic
                and Postclassic Periods), three of the four narrow sides have a broad
                groove meant to receive a very pliable stick wound around it as a
                handle. The other variety considered here has an integral stone handle
                (Late Preclassic).
                8. Celts
                 These were originally mounted on wood handles for use as hatchets
                or adzes. Made of very dense, fine-grained stone and are often highly
                polished near the bit and sometimes over the entire body. Some examples
                are made of jade or stone resembling jade.
                I. Metal Artifacts
                1. Copper Celts
                 Mounted on wooden handles for use as hatchets or adzes. Long copper
                celts with a rectangular cross section. May have a dark patina.
                Postclassic Period.
                2. Copper Rings
                 Copper finger rings made with the lost wax technique. Documented
                examples include filigree details or effigy heads. Terminal Classic and
                Postclassic Periods.
                3. Copper Bells
                 Copper bells, plain or with effigies, usually made by the lost wax
                technique. Postclassic Period.
                4. Tumbaga Artifacts
                 Tumbaga is an alloy of copper and gold. Artifacts made of Tumbaga
                may present a mottled surface looking golden in parts. Documented
                Tumbaga artifacts from El Salvador include small animal figurines made
                by the lost wax technique, and a small hammered sheet mask with eyes
                and mouth cutouts. Late Classic Period.
                II. Ecclesiastical Ethnological Material
                 Ethnological material covered by the MOU includes ecclesiastical
                material from the Colonial period through the first half of the
                twentieth century ranging in date from approximately A.D. 1525 to 1950
                that was made by artisans and used for religious purposes. Salvadoran
                artisans created paintings, sculptures, furniture, metalwork, textiles,
                and craftwork for religious use in churches and cofradias, or
                ecclesiastical lay organizations, until the mid-twentieth century. This
                ethnological material was not mass-produced or industrially produced,
                and most works were anonymous. Examples of ethnological material
                covered by the MOU include, but are not limited to, the following
                objects:
                A. Paintings
                 Paintings depicting figures, narratives, and events, relating to
                ecclesiastical themes, usually done in oil on wood, metal, walls, or
                canvas (linen, jute, or cotton).
                B. Sculptures
                 Sculptural images of scenes or figures, carved in wood and usually
                painted, relating to ecclesiastical themes, including Christ, the
                Virgin Mary, saints, Anima Sola (souls in purgatory), and other
                figures.
                1. Relief Sculptures
                 Low-relief plaques, often with polychrome painting, relating to
                ecclesiastical themes.
                2. Sculpted Figures
                 Wood carvings of figures relating to ecclesiastical themes. Figures
                are decorated with polychrome painting, sometimes using the estofado
                technique. Hands and faces may be more finely carved than the torso.
                Eyelashes, eyes, and hair may be added. Clothing might be sculpted and
                painted. In some cases, the torso consists of a simple wood frame
                covered in fabric clothing. Figures may have articulated arms, and
                sometimes legs, so they can be posed to represent various religious
                scenes. Sculpted figures may be life-sized or miniaturized. Some
                figures have metal accessories, such as, halos, aureoles, and staves.
                C. Furniture
                 Furniture used for ecclesiastical purposes, usually made from wood
                with glass, metal, and/or textiles attached.
                1. Altarpieces or Retablos
                 Elaborate ornamental structures placed behind the altar, including
                attached paintings, sculptures, and other religious objects.
                2. Reliquaries and Coffins
                 Containers made from wood, glass, and/or metal that hold and
                exhibit sacred objects or human remains.
                3. Church Furnishings
                 Furnishings used for liturgical rites, including pulpits,
                tabernacles, lecterns, confessionals, pews, choir stalls, chancels,
                baldachins, and palanquins.
                [[Page 15374]]
                4. Processional Furnishings
                 Litters, canopies, coffins, cases, crosses, banners, and cofradia
                insignias carried in processions and made of wood, glass, and/or
                textiles.
                D. Metalwork
                 Ritual objects for ceremonial ecclesiastical use made of gold,
                silver, and/or other metals, such as, monstrances, lecterns, chalices,
                censers, candlesticks, crucifixes, crosses, decorative plaques,
                tabernacles, processional banners, church bells, and cofradia
                insignias; and objects used to dress sculptures, including, among
                others, crowns, halos, and aureoles.
                E. Textiles
                 Textiles used to perform religious services made from cotton or
                silk that may be embroidered with metallic and/or silk thread,
                brocades, prints, lace, fabrics, braids, and/or bobbin lace.
                1. Religious Vestments
                 Garments worn by priests and/or other ecclesiastics, including
                cloaks, tunics, surplices, chasubles, dalmatics, albs, amices, stoles,
                maniples, cinctures, rochets, miters, bonnets, and humeral veils.
                2. Garments To Dress Sculptures
                 Life-sized or miniaturized garments, including tunics, robes,
                dresses, jackets, capes, stoles, veils, belts, and embroidered cloths.
                3. Coverings and Hangings
                 Altar cloths, towels, and tabernacle veils used for religious
                services.
                F. Documents and Manuscripts
                 Original handwritten texts or printed texts of limited circulation,
                primarily on paper, parchment, or vellum, including religious texts,
                hymnals, and church records. Documents may contain wax, clay, or ink
                seals or stamps denoting an ecclesiastical institution. Documents are
                generally written in Spanish, but may include words from indigenous
                languages, such as, Nawat, Lenca, or Mayan languages.
                Inapplicability of Notice and Delayed Effective Date
                 This amendment involves a foreign affairs function of the United
                States and is, therefore, being made without notice or public procedure
                (5 U.S.C. 553(a)(1)). For the same reason, a delayed effective date is
                not required under 5 U.S.C. 553(d)(3).
                Regulatory Flexibility Act
                 Because no notice of proposed rulemaking is required, the
                provisions of the Regulatory Flexibility Act (5 U.S.C. 601 et seq.) do
                not apply.
                Executive Orders 12866 and 13771
                 CBP has determined that this document is not a regulation or rule
                subject to the provisions of Executive Order 12866 or Executive Order
                13771 because it pertains to a foreign affairs function of the United
                States, as described above, and therefore is specifically exempted by
                section 3(d)(2) of Executive Order 12866 and section 4(a) of Executive
                Order 13771.
                Signing Authority
                 This regulation is being issued in accordance with 19 CFR 0.1(a)(1)
                pertaining to the Secretary of the Treasury's authority (or that of
                his/her delegate) to approve regulations related to customs revenue
                functions.
                List of Subjects in 19 CFR Part 12
                 Cultural property, Customs duties and inspection, Imports,
                Prohibited merchandise, Reporting and recordkeeping requirements.
                Amendment to CBP Regulations
                 For the reasons set forth above, part 12 of Title 19 of the Code of
                Federal Regulations (19 CFR part 12), is amended as set forth below:
                PART 12--SPECIAL CLASSES OF MERCHANDISE
                0
                1. The general authority citation for part 12 and the specific
                authority for Sec. 12.104g continue to read as follows:
                 Authority: 5 U.S.C. 301; 19 U.S.C. 66, 1202 (General Note 3(i),
                Harmonized Tariff Schedule of the United States (HTSUS)), 1624;
                * * * * *
                 Sections 12.104 through 12.104i also issued under 19 U.S.C.
                2612;
                * * * * *
                0
                2. In Sec. 12.104g, paragraph (a), the entry for El Salvador in the
                table is revised to read as follows:
                Sec. 12.104g Specific items or categories designated by agreements
                or emergency actions.
                 (a) * * *
                ----------------------------------------------------------------------------------------------------------------
                 State party Cultural property Decision No.
                ----------------------------------------------------------------------------------------------------------------
                
                 * * * * * * *
                El Salvador................ Archaeological material representing El CBP Dec. 20-04.
                 Salvador's Pre-Hispanic cultures ranging in
                 date from approximately 8000 B.C. through A.D.
                 1550 and ecclesiastical ethnological material
                 from the Colonial period through the first
                 half of the twentieth century ranging in date
                 from approximately A.D. 1525 to 1950.
                
                 * * * * * * *
                ----------------------------------------------------------------------------------------------------------------
                * * * * *
                 Dated: March 6, 2020.
                Mark A. Morgan
                Acting Commissioner, U.S. Customs and Border Protection.
                 Approved:
                Timothy E. Skud,
                Deputy Assistant Secretary of the Treasury.
                [FR Doc. 2020-05694 Filed 3-16-20; 11:15 am]
                 BILLING CODE 9111-14-P
                

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